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Full text of "Maximum Rocknroll, No. 201 (Feb 2000)"

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teen crudj lerzone • toward 
best pupk^fflgles of the 1990s 


#20l/fpb 2000 

three dollars 




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SEATTLE 1 999 


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We will not accept major label or related 
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CLASSIFIEDS: 40 words cost $3/60 words 
max for $4. No racist, sexist or fascist mate- 
rial. Send typed if possible. Cash only!!! 
Expect a two month backlog! 

COVER: photo: Dan Halligan 

the rest: Sean & Arwen 

SELL MRR AT GIGS: Within U.S., we'll sell 
them to you at $1.50 each ppd, cash up 
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STORES: If you have problems getting 
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Please send all records, zines, letters, 
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(use this mainly for comments & letters. 

Use phone for ads & other business stuff) 

wam For what it's worth (not much), a f\ 

I IJr^ here's some of the MRR crew's 1 II 

current Top-10 lists of stuff we review. 


POISON IDEA-Discontent-EP 
V/A-Raging Hardcore Shot-CD 

Vulgar piGEONS-atncSnot-EP 

AMULET-Life On The Edge-EP 


NECESSARY EVILS-Conspiracy-45 
PRETTY GIRLS-Kids Are Real Fucked-EP 
WONGS-Reanimate My Baby-LP 

PUBLIC-Caged Conscience-EP 

EMBROOKS-More Than Ever-45 
MICHAEL KNIGHT-Never Fucking Liked You-EP 
SMOGTOWN-Beach City Butchers-10 


LOMBARDIES-Throw Your Love Away-LP 


LONG JOHN HUNTER-Ooh Wee Pretty Baby-LP 

ESTRELLA 20/20-Afro Mexicana-10' 


I nil i^— H^M^I 


WONGS-Reanimate My Baby-LP 

LONG JOHN HUNTER-Ooh Wee Pretty Baby-LP 


CHORDS-So Far Away-LP 

''j'M'/w-m'iEsza— ^— 

BORN DEAD ICONS-Part Of Something-EP 
WONGS-Reanimate My Baby-LP 

WAILERS-Scotch On The Rocks-EP 

NECESSARY EVILS-Conspiracy-45 




POISON IDEA-Discontent-EP 

LONG JOHN HUNTER-Ooh Wee Pretty Baby-LP 



NECESSARY EVILS-Consppiracy-45 


SMOGTOWN-Beach City Butchers-10" 

SMOGTOWN-Beach City Butchers-10 
ESTRELLA 20/20-Afro Mexicana-10" 
WAILERS-Scotch On The Rocks-EP 

PRETTY GIRLS-Kids Are All Fucked-EP 

SUBSTANDARD-Consuming Need-EP 


BORN DEAD ICONS-Part Of Something-EP 





WOLFPACK-Allday Hell-LP 
POISON IDEA-Discontent-EP 
V/A-Raging Hardcore Shot-CD 

POISON IDEA-Discontent-EP 


u« Please send us records (2 copies of vinyl, if possible- 

I Ur one for MRR and one for reviewer ^' or CD-on| y re * 

■jm. ' MHI 

lease. See Records section for where to send tapes. 


ZEROS-Right Now-LP SMOGTOWN-Beach City Butchers-1 0" 


WONGS-LP and live ROAD RAGE-Painless Suicide-EP 

WTZ-Deutsch Punk Revolt-LP THE AUTHORITY-On Glory's Side-CD 





PRETTY GIRLS-Kids Are Real Fucked-EP 

Norton Jukebox-45s-all 

ESTRELLA 20/20-Afro Mexicana-10" 





V/A-Raging Hardcore Shot-CD 
SMOGTOWN-Beach City Butchers-10" 


LAST IN LINE-Crosswalk-EP 
V/A-Apathy=Sell Destruction-EP 


FIRST ALERT-Trade The Ltfe-EP 


LONG JOHN HUNTER-Ooh Wee Pretty Baby-LP 



LOMBARDIES-Throw Your Love Away-LP 

NOMADS-She'll Always Be Mme-EP 

LOMBARDIES-Throw Your Love Away-LP 
NAMELOSERS-Fab Sounds From S. Sweden-LP 
CHORDS-So Far Away-LP 


V/A-Scene Killer Vol. 2-CD 
PMT-EP/ROAD RAGE-Painless Suicide-EP 

AMULET-Life On The Edge-EP 
MICHAEL KNIGHT-Never Fucking Liked You-EP 

PRETTY GIRLS-Kids Are Real Fucked-EP 



WONGS-Reanimate My Baby-LP 



Sam Atakra Peter Avery 

Aragorn Michelle Ba 

Jerry Booth Enrico Cade 

Michelle Barnhardt 
Enrico Cadena 

Brianna Chesser Karoline Collins 
Catherine Cook Robert Collins 

Rob Coons 
Jason Crandell 

Julia Cozell 
Andy Darling 

Rafael DiDonato Mikel Delgado 

Chris Dunlap 
Jonathan Floyd 
Brian Gathy 

Neale Fishback 
Gardner Fusuhara 
Doug Grime 

Katja Gussmann Lance Hahn 
Mike Hale Chris Hall 

Harald Hartmann r.Jeff Heermann 

Tom Hopkins George Impi 

Kenny Kaos Carolyn Ked 

Pete Ketchpel Roger Kuhn 

Dulcinea Loudmouth Gabe Lucas 
Michael Lucas Ray Lujan 

Hal MacLean 
Timojhen Mark 
Jeff Mason 

Bobby Manic 

Mary Jane 

Tobia Jean Minckler 

Mundo Murguia Allan McNaughton 

Jennifer Mushnick Jah Nell 

C. Nellie Nelson Mimi Nguyen 

Donna Poole 

Sandra Ramos 

Trent Reinsmith Casey Ress 
Bruce Roehrs Rotten Ron 

Denise Scilingo Sparx 

Steve Spinali Pete Sir 

Jason Valdez Max Wa 

Ryan Wells Shane V 

Melanie Willhide Jeff Yih 
Rema Young 


Pete Simonelli 
Max Ward 
Shane White 


Mykel Board 
George Tabb 
Brian Zero 
Rhinestone T 
Dave Emory 
Mark Murrmann 
Mark Hanford 
Brian GTA 
Jose Palafox 
Sheri Gumption 
Stickerguy Pete 
Dave Dictor 
John Esplen 
Neil Nordstrom 
Jeb Branin 
Ed Hunter 
Vanessa Veselka 
M. Vermont 
Dan Halligan 
Chris Martz 

Nathan Berg 
John Kohut 
Ted Rail 
Renae Bryant 
Erin Whupass 
Skipard Reason 
Felix Von Havoc 
Ryan Richardson 
Scott Soriano 
John Ringhoff 
Chuck Nolan 
Ken Sanderson 
Ethan Avery 
Stephen Perry 
Gina Rossi 
Gordon Zola 
Michael Monteleone 
Ivy McClelland 
Marrku Hirvela 



Suburban Voice #43 

Sty Zine #50 

Rad Party #23/Adita #7 

Black Light Angels #4 

Arwen Curry Sean Sullivan 

Nosedive #9 

I Am Right #1 

It's Alive #18 

No Longer Blind #6 

Sick Punks #1 

Complete Control #5 

i l wiMi^ii l 'j;<iiH:rMilillBAl!VllfJII,'J:JiltJ!f1^IIBJJ;Vi|JJI|/,|ji| l j,i l |;| l || 



(flJ.VApril '95. Vindictive), Stinkcrbell. Jesus 8165/Fcb '97. lies Dead Jim. Millionaires, No- #183/Aug '98. Levsd. Asshole Parcde His Hero Is 
Chill Supcrfl) New Day. Registrators, Youth Talents. Blanks 77. The Hives. The Freeze, Chris Gone. Cee Bee Beaumont. Teen Idol,. Pioneers— 

Brigade hi Maximum Crime Stories." "Pio- Spedijig/0<h«People'sMusic,DeBince.RealM*:K- X-RaySpbes* Chiapas article 

neeis— Northwest .Noise pi -I". enzies Savage Malignant, Sea Monsters. Dropkick 

Murphys. Vou Sou Nezumi. "Roots— Richard Hell" #I84/Sepl '98. Absentees. Devoid of Faith I X \ 
#l4S/Junr , «.Connici.NoEmpalh>-.Schleprock. OmlaUl Foul Idler Wort. Strretwalkin' Cheetahs. 

Screw 32, Harriet Rejocu. Badger. MC5, Bob «166/Mar '97. Walking Abortions. Hickey. 77 Ricansmiction. Libertine. Indecision. Snarkoul Boys 
Culler. Tad Rail & His Cartoons' Spreads. Sanity Assassins. Cards In Spokes. Joey "Pioneeis— Black Rag". 

Tampon & The Toxic Shocks. Adjective Noun. Sui- 
»14MJulv '95. Rivcrdales. Head. Bristles. Aut cide King. Lcnguas Armadas. Trauma. Dc Crew. #185/Oct '98. Tranors. Wimp) Dicks. Armed & 
Aui.Schleprock.Spanakotzo.McRackins.YAPO, "Pioneers— Dead Boys" Hammered. Dvlan McKays . NMI-: iczacrifco. 

10-96. Empress Of Fur. I ndcihaiid Nailed Down. Worm. Roswclls. Raxola. Beatnick Temnk 

#I67/Apr'97. No li.nid. Sobodys. Sloppy Seconds, ncers— Advens". 
»148/Scpl '95. Soda Jerks. Toe Rag. Thorazine. The Forgotten. Thee Vicetoys. Brian/Grand Theft 

St iied Straight. VVizo. Opposition Party. Moody Audio. Gauze. Danko Jones. "Roots— Kuro »I86/Nov '98. Regisuators. August Spies. Marilyn's 

Jackson. Advctsivcs. Option Crucial, Rebel Rebel. Vitamins. Chinese Love Beads. "On Our Dooi Heps" 

Teen Idols Walking Rums. "Pioneers— Sixties HHWMay '97. Cretin 66. Fishslicks. UK Subs. Dis- on homeless punks. Pioneers— Spizzencigi" 
Punk Kings temper. Encwetak, Fields Or Shit. "Roots— SLF, 

. Undertones". If 187/Dec '98. Real Kids. Sawn Off.Crctins. Spider 

8149/Ocl '95. Manic Hispanic. Pel UFO. Campus Cunts, Heroines. Third Panv. No Class. Skabs. Lily 

Tramps. Joe Kidd. Bad Luck Slrcak. Chumpslap. «I69/June '97. Hand Skin. Cluster Bomb Unit Ji- & Lance's Holiday in ihe Sun. "Pioneers— Dead 
Humpeis No Violence Difeicntes Actitudcs. Ju- had. Purgen. Speed Queens, Remission. Halllings. Kennedys' 
seniles. Richard the Roadie "Roots— The Sixties The Old Man. Deface "Roots— Clash, Ramones. 

P ' 2 " Sex Pistols" #HM/,lun '99. Smches. Neighbors. Mansfields. Real 

Swinger. Marauders. Mark Bruback. Man Moles. 
#150/Nov '95. NY Loose. Snap-Hei. Sick Boys #170/July '97. Bristle. Mine. Tedio Boys. The 4 DOA. Pioneers— DOA" 
Splattcrheads. Pipe Pregnant: Man final Conflict. Cockroaches. Absconded. Meansvhile. Bi,, 

RawiMSS.Slink.Gobhns.SmelheF'ingeis. "Roots— (Young) Pioneers. Hoodrat. "You're Dead!". "Pio- #189/Feb '99. Monster X. Peter i the Test Tube 
The Essential 1950s" neer— The Slits". Babies. Steam Pig. Mauraudci. Yakuza Dead Beat 

Rccs. Halfways Hot Rod Honeys DeRfta & Sister. 
<H5l/T)ec'95.Lowdowns.MyWhiteBieadMom. «I7I/Aug '97. Strychnine. Idiots Pelado Reel 

Queen BY Electric Frankenstein. Tunlehead. Set- Misanthropists. Raceltailor. Violent Society. *l90Alarch'99Johnl!ol.sirom.Po\verhouse.Brezh- 
pico.Tnck Babys. hVHumanity. Stains. Varukers, ncs Slappy. Black Pumpkin. Smartbomhca. Wand,, 

Pist. Terrible Virtue. The Hardcore Films Of Chrome. Long Gone- Smoglown. Halfways, Tilt 

Richard Kern #I72/Sepi '97. Withdrawals. Judgement. No Motiv. "Pioneers— Mechanics" 

OppressedLogic.Truents.LcltFoiDcad Yellowskin 

3 155 'Apr '«,. 3rd Degree Russy Crush, Surfin' WeirdLovemakcrs.Smash YourFacc. Flaws. Slraughl *I9I/April '99. Murder Suicide Paci KilKare.Dud- 

\mi llag.SlighlSlappers.lligh Faced. Klaxon, X-lt. web designer Vic Gedns. film- man Supel Hi lives. Belter Than Elvis DJs. Pet 

Plains Drifters. Cro-Mags. Hockey Teeth. "The maker Doug Cawker. Peeves, Loose Ends. Slingshot Episode. "Pioneeis— 

Knights 01 Malm M „„„ Th ,, JT p , ,„ Chonuk/5 "Propaganda & 

#!73fOct'97.HotWaici Musi, Tat Day. Los Tigres Control" 
• I/May '96. Public Toys. Crunch Peter & Guapos. Les Partisans. Brisiols. Ms 3 Scum. Space 

The Test Tube Ujbics.Vid. 01 Hawaiian, Splach Shits. Pcssimiscr Recs. Reclusivcs. Nick Qwik. Pi- K19MH.) '99. Los Crudos. Burning Kitchen Henry 
« V„» p! I.iletlme Si.koids. 'Roots-Boston" oneerv-GG Allin" r-iat s Open Sore. Polythene. Kangaroo Rev-. Willie 

Brown Biotic Baking Brigade. "Pioneers— Vice 
»I56 pt iAIas '96. Australian Special: Bcanflip- SI74/Nn> '97. Stratford Mercenaries. Lickitv Split Squad pi 2 of Chomsky's "Propaganda & Control" 
per. Melancholy Bin/ Babicz. Crank. SubRosa. Bladder. Piss Shivers. Bamhills. In/Humanity. Ed- 

Mindsnarc TMT IIBIock B-Sides. Fallout. Fren- ucanon theme issue. KlW/June '99. Munsier Recs. DS-13. Salety Pins 

.alW.omb.Lawnsmcll.OnelnchPunch. Chicken- Pussycats. Piolines. False Alaim. Darlington Bad 

-In. No Deal. Ussue I Clint Walker. 1175/Dec '97. One Man Army. Those Unknown. Stain. Bodies. Houseboy Mullets, pt 3 of Chomsky's 

BoilingMan.PiaoChong.ExplodingCnistaceans. ' Propacanda & Control" 
<M57/June '96. Against All Authority The Cum- Lasl Years Youth. Hcartdrops. Dim Burds. 

inal! Wardance Herofnei Brain Brats. Rudi- Dimestore Haloes, "Pioneers— The Henchmen" *I94/Julv '99. Deathreat Last Match. God Hates 
menis Chinese Millionaires. Sons Of Hercules, filmmaker Lech Kowalski Computers. Fofckewolf. Flesh Eating Creeps Aside 

YouiMothei Yellow Scab. "Roots-Sham 69". Hoppin Mad Kid Dynamite. Thee Outcasts, Pio- 

AI767Jan '98. Infoshops/tadical bookstores Scared ncers — Svrs Costello." 
•TSftfJul) '96. Workin' Suits The Gam A.Mc;. of Chaka Wong! Palatka Vootbees Stalingrad. 

VonHimei Haters The Process, Brother Inferior. Upstaus People. Squidboy.Beltones. Sky Grain, the »195/Aug '99. Moral Crux. RC5. Have 
Judge Nothing. Bieakups.NolFoi Rem "Roots— Tempered. Dysenterv Greg Higgins Revl 
"" Bu ' / & ihe Gonow beret. C I Next Tuesday Rccs. "Pio- 

*177/Feb '9X. Supeifls 1 NTs. Submachine. Drop- ncers— Silver Chalice MP3. 
0159/Aug '96. Smugglers. Brand Mew Unit, Tone out. Society Gone Madd. Pinhead Circus. Ann Beret-' 

Deaf Pie-Dogs. Round Ear Spocks. David Hayes/ la. Blackbird Naive. Useless ID. Quarantine. » 1 96/Sepl '99. Hopscotch Recs. Catharsis Orchid 
Very Small Recs Man Afraid, Blind Side, Vox Roots-Generation X. The Pucks Grissle. Product X. Reaching Forward. 

Popuh. Death Wish Kids. Fun People FatDrunki: Emerec Thud Degree. Epicenter Zone 199 

Stupid "Roots— The Dickies *I78/Mar '98. Forgotten Rebels. The Dirlys. Josh 

Collins. Lciicrbomhs. Go-Devils/Gyogun Rends/ #l97/Oct "99. Reducers SF Lower Class Brats, 
»160/Sepl'96.Automatics.l)oycot.Toast.Mom- Room II Tone Deal Pig-Dogs American Steel, Reactor 7 TheGodsHatcKansas. Future Incieno. 
"WJShakes I linQPublic.SexOffcnd- Economics theme issue Shoss IhWaifle. Hal Earth Recs. Hoi- 

Business, Ap.valspseBabys.Good ijavs in the Sun. "Pioneers—Radio Bndman 

Riddance Russia Update "Roots— Eater" #l79/Aprir98.Bos;Sei.sFiic TresKlds Idyls. Spat 

* Ihe Guttersnipes The Posers. Explosive Kate *198/Nos '99. Hail Mais Pressure Point. Bump N 
«16I/Oct 96.JetBumpcrs.SlcclMin-.vs Divisia Douche Rag. They Still Make Records Pioneeis- I ghes TheVictims A ■■'Political. OuUasl Pioneers 
Nothing Cool. Sink. Sires Dangerhousc Records". oi Punk-D„iai„r. PuckUnametican and Aiici 

»»wnGnmts. -pioneers-Ohio 7" the Berlin Wall" am. !.■- 

DMOAlay '98. Reinforce. Discontent. TV Killers 
»T6Z/Nos '96. Ph.mlom Surlcr-. Candy SnaUicis SiackAeiirm.Eyellw lie MKUlrasi- l*l99/l)ec'99 Locust .Ralo-.le Poia.. CSV Razing 

The Slain N„ ,i Guard Torches To Rome, olence Haulm Ass, 9T0 Infiltrators Jack Sainu /, D • Swarm WHN? Ml Si Helens 

I miles. Two Bos Maniacs. Snuka Re- Stray Bullets. 'Pioneers— Paid Smith 
demotion 87, 1 orture Kin) Roots— LA 77" 

0181/June '98. Grapelmit. Druggies. Sulci!. 
116.1/Dcc '9<.. LastS-ii-otKrypi.-n Prostituttt All Bets Off. Bonecnlshei Summerjack CellBlcltS «2l)0/Jan20Oll.,-\m Sicel.Cuise llelvis dec Vaucb- 
etliRock Enern; Soil Vulca- DD1 Normals. Pioneers— 999" PirateRadio issue er, H Use di-tro. 

IfEmpty.Zcroj Deadcals lecn Idles Toxic Narcotic, btbliography of Ml 

BACK ISSUE SALE: For every three you purchase, you get a fourth one free!! 
Please list alternates in case we're out of a particular issue. Price list is on previous page. 

Music. Enemy Soil "Pioneers- Ripper", "Record 
Buying mi ineNei "Are KcyboanJs funk"' 


Scene Reports: PUNK'S NOT 

DEAD! It's happening out 
there and MRR, readers want 
to hear about it! MRR relies 
on you scenesters out there 

to Keep. the pulse of what's 
happening in your town 
Write up something fun and 
interesting about it, and sent 
it in to MRR. Photos ant 
artwork are mandatory, Tel 
us about local bands, zmes, 
and cool and uncool venues, 
include info for travelling 
punks (non : US scene reports 
are especially welcome!) 
such as where to find cheap 
veggie eats, record stores, 
ana strong coffee. Has your 
punk scene spawned any 
communallv-run enterpris- 
es such as show spaces, ca- 
fes or record stores? Are rac- 
ist or homophobic thugs 
threatening your scene's 
ha.rmony? Enquiring punk 

JnndS want to know! See 
etails below for format info. 
Interviews: Bpy is MRR 
everlooking to nfi >rove the 
quality of our irterviews 
(wnich;. shouldn't >e hard!) 
we'd like to get a staff of 
reliable people across the 
country ana around the 
world who could turn in 
some good, prpbing inter- 
views on a semi-regular ba- 
sfs. We're looking Tor peo- 
ple who alreaqy have some 
experience doing interviews 
iperhapsyou have your own 
zine and would like to share 
some of yourbest stuff with 
a wider audience), who can 
challenge bands (1 know, I 
know, most bands don't 
have squat to say, but a good 
interviewer can take tnem 
where they haven'trjeen be- 
fore!) or give some long 
overdue support for those 
behind-the-scenes types 
/ho do an awful lot of the 

hard work in punk rock but 

tet Tittle of the ego or mon- 
tary rewards. Please give 
us a call if you are interested 
in covering new hardcore, 
punk or garage bands. , 
Formats for submitting 
stufR We prefer things 
typed up on. a3 1/2" com- 
puter disk, either Mac (pre- 
ferred) or IBM. Please don't 
type in ALL CAPS! If you can't 
access a computer, then 
typed up cleanly on paper 
snould work, as long as it's 
in a fairly common and 
straightforward font. Graph- 
ic stuff? send photos (B&W 
preferred, but color OK too), 
logos, etc. Thanks 
Rfcords/^ines? See detailed 

information listed on the 
mastheads of the Record 
Review and Zine Review sec- 




: r 


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^4s<$<+o*y/Ay2+^r<*<+o*y? < 

.s<wV your s+or*;<*s 
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wx* your ;*^-$;*j^-h 




P^H u "* w 



TEL 41S 642 6800 

FAX 415 642 6810 

P0 BOX 460324, SF, CA 94146 

m ™»moKmu: 






Once I figured out this was played on 

45, not 33 as the record says, this record 

sounded a lot better. Of course, it wouldn't be 

Maximum without a little misinformation. The 

B-SIDES play snotty, sloppy, fun-filled punk 

rock similar to Wimpy-era QUEERS stuff. This 

release is way better than the last couple of 


says hello! 
"RUIDO 7" 

Ripping L.A. thrash. 

'INTENSITY "The Virtue of Progress" 7" 

Raging, fast, and heavy posi-core from Sweden. 

'BOILING MAN "Roadkill Museum" 7" 

Crunching early 80"s hardcore punk like if The Pist met Filth. 

*VOORHEES "J3" 12'7CD 

Thirteen new tracks from U.K. thrashers. 


Brazil legends vs. Finnish hardcore freaks. All new tracks! 

'CAPITALIST CASUALTIES "Subdivisions in Ruins" LP/CD 

West Coast hardcore. 

'JAPAN IN DECLINE compilation LP/CD 

Slang, Fuck On The Beach. Shlkabane, 324. Smash Your Face. Frljora. Cunalnrall. Hellpop. Kung-Fu Grip Man, Mass 
Genocide. Vryker. Unholy Grave, Smash The Brain, Majestic Four, Carcass Grinder, Su19b, Judgement Disorderly, 
Dudman. More Noise For Life. Hashdum, and T.R.U.T.H. all brutalize, LP has bonus tracks. 


LPs are $8 No. America/S13 Europe/$16 Japan and Australia 

CDs are $10 No. America/$12 Europe/$14 Japan and Australia 

7" /flexi is $3 No. America/$5 Europe/$7 Japan and Australia 

Please make checks & money orders out to "Six Weeks," not "Athena Kautsch." Yes, we know this 

is the exact opposite of what we've been telling you for years, but tell it to the bank) 

Still available for mailorder only: Nailed Down "Honour and Glory" flexi and Europe In 

Decline 12" comp. 

•Aisn we are still searching for bands that have teachers in them for a future compilation that's 

coming out in spring of 2000. Get in touch and send a sample! Student teachers are okay, but 

please, no substitute teachers." 

Six Weeks: 225 Lincoln Avenue/Cotati. CA 94931 U.S.A. 

write (w/SASE) or e-mail for a complete list: 

We also distribute records from around the world for the cheapest rates around-honest! 

Stores/distros: contact Mordam for wholesale (415)642-6800 


Du Synker Inn I D0den... 
12 song double 7" EP and CD 

killer Norwegian Hardcore Punk 


meets SLAYER 

HeartFirst Recordings 

Boeckhstr. 39 10967 Berlin Germany 

Eax +49-30-6940 9785 


.: ■ : ■ . V .. — ~ — 


O LI D A Y S ! 




you cant keep a good band down compact disc j 

Whoah. Queen meets Karl Marx ai a 
Propaga Delhi show in Regina. Ass-colliding 
socialist anthem-rock as contagious as a 
terminal case ot crabs! 



the first cinjplrac» compact disc 

Situationtst garage-rock with Dennis Lyxzen, 

former frontman of the Refused and 

members/ex-members of Separation and 


*]»ifflflaD8J ®sms3N&B$ SGH gpHMSt §(KD ifflSftD SGKSSQ [BSXUSKDOSO tfWtt23$M EBB SWBM® 
cd $12 CDN. in Canada $10 USD in USA credit card orders call 204-947-2002 

■■■ ■■:.-■ ':--; ; :'--""" ■ ■■■■ '''" : -':;- : '■ ■ ' 
■ ■■ — - i ' ii 'j ■ ■ 


Slap A Ham Records 

since 19S9 

■« V.V-V ' 


-Criuh Kill Destroy - LP/CD 


'Trapped Inside' LP/CD 

[The first new album in 3 years! 
Colored vinyl thru mailorder! 

First full length from these SoCal fastcore 
veterans! Colored vinyl thru mailorder I 



si .! 

fyra F.R gTUFF: 

~-=SsS££SsSS3Sk ' ' 

•SFAZZ"Sweson' To The Qldie«" CD 


AU pri««» portpaid /US carreney only 

No.Ajh «rioa Surfs. o» Airm 


Ipromin; (don'l order vttl): 

• INFEST / F.H.C. 7" reissue 

■ CROSSED OUT - official IF/CD] 

js^assssszcssss i a 

Slap A Ham. 

/ P.O.Box 420843 

|*8«nd tamp or IRC for full c«ftog»| 




also new! 

Beatnik Termites- 



I was a murder |unkle-"the last 
days of G.G. ALLIN" by Evan 
Cohen book with cd S1 5ppd 
follow evan cohen on the murder 
|unkies last lour with G.G. before 
his deatii includes a cd with 
about 30 minutes of unreleased 
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88 Fingers Louie 

Fury 66 

Sick Of It All 

Grey Area 

Toe to Toe(Aus 



been living 
in Como, Italy for 
about two 
months now. 
Last summer I 
decided to escape my safe haven in 
Denver for a year abroad as a foreign 
exchange student. I can't believe this 
wonderful opportunity that I was dealt, 
and so far I've had totally incredible 
experiences. But I think that one thing 
needs to be said. I've never really 
considered myself a very serious fem- 
inist, though of course I care about the 
matter a great deal and do my part to 
speak out against sexism. Coming 
here has completely opened my eyes, 
even though some things I see make 
me want to keep them shut as tight as 
possible. I am so enraged, ashamed 
and frustrated by what I see from day 
to day. 

Actually, there isn't really any 
one word that can describe what I'm 
feeling. One example is, of course, 
television. All the girls are dressed like 
cheap $10 hookers, shaking their tits, 
flashing plastic smiles, and dancing 
their tight asses off for horny pricks 
three times their age on game shows. 
Commercials are also packed with 
completely naked women selling soap 
products while selling their bodies. It's 
so horrible, I'm ashamed as a woman 
to see this going on. I'll probably make 
a tape while I'm here so that everyone 
will know that I am not exaggerating. 
Family structure doesn't get any 
better. Having the chance to live with 
a real Italian family has given me a 
point of view that few people see. The 
women's place in the family is defi- 
nitely in the kitchen. Let me describe 
my hostmom's day to day life which I 
know for a fact many other women 
share. She wakes up at around five to 
do little chores: dusting, mopping, laun- 
dry, which she does for a couple of 
hours. Then, at eight, she leaves to go 
teach at a local high school. She comes 
home at around one to make lunch 
(no one in the family seems to have 
the incentive or know-how to do it 
themselves). The rest of the day she 
spends doing chores and grading pa- 
pers, until dinner, where she spends 
an average of two hours preparing a 
meal for her husband and son to wolf 
down in ten minutes, then spend the 
rest of the evening criticizing her for 

every little detail. Then they immediate- 
ly go fill the dents in the couch in front of 
the TV while my hostmom is left to clean 
up the messes that they left. I try to help 
her as much as possible, and she al- 
ways seems surprised when I seem to 
know how to vacuum or iron. She has a 
full time job, same as her husband, yet 
she also has the entire job of keeping 
the house in order without a finger lifted 
by anyone else, unlike her pitiful excuse 
for a husband who has the luxury of 
living his life snoring 14 hours a day. I 
wonder. how much longer she can keep 
going without a breakdown. 

I was lucky enough to immediate- 
ly be a part of the punk scene in Como, 
and there are many things that I admire 
here about all of the punks, yet "femi- 
nism" is still considered a bad word, and 
no one really gives sexism any thought. 
On the occasions that I do speak my 
mind, the girls react to me with faces 
like cows looking at a qoming train, and 
then moo in unison, "Oh, you're a fem- 
inist." As if it was something to be 
ashamed of. Now, even among punks, 
I feel as if I'm the black sheep out of step 
from the rest of the herd. Correct me if 
I'm wrong, but I thought I was right to 
presume that punk was where ideas 
wouldn't be shunned and silenced by 
the shepards of society. 

Another point: the scene here 
seems to be exclusively all-male partic- 
ipations. One proof of that is that within 
our little group of about 25, there are 
only two other girls, who pretty much 
only listen to the music but stay out the 
rest of the time. Another example is at 
shows: all girls are seen in the back, as 
little of a threat as possible. I'm the only 
girl ever seen in the front, and the guys 
are blown off anytime I join them in the 
pit and then make a point to treat me like 
a stone in their shoes. One more point: 
I'm sure I'm the only girl who's in a band 
here in Como. That just proves how 
slow things are... 

To tell you the truth, I've had just 
about all I can handle. I'm so sick of 
seeing such ignorance. I thought punk 
philosophy was based around thinking 
for yourself, not accepting what society 
shoves onto you, and teaching people 
that they don't have to follow the crowd. 
Well, I guess people here have missed 
a step. It seems they only want to be a 
fashion statement. I don't want every- 
one to read this thinking I'm just another 
frustrated white girl bitching about the 
injustices of the world, I just thought that 
everyone should know of the situation 

here, and hopefully realize how lucky 
women are in the States for having a 
chance to develop their own ideas, 
and having them heard. OK, so it's not 
the best situation that we could hope 
for, but we seem to forget how much 
worse most people have it. (It's not just 
a problem for women, but for every- 
one. Men have to struggle with this as 
well, maybe to a lesser degree, but 
they do suffer from it too.) Thanx for 
taking the time to read this, and thank 
to all who speak out against sexism, I 
can't explain how much more I appre- 
ciate it now. 

PS Anyone who wants to write 
to me, feel totally free to:, or Ala- 
na O'Reilly/ c/o Bardin/ 37 Viale M 
Masia/ 22100 Como/ Italy. 


Blatant sexism is a common 
streotype about Italian culture, and in 
my experience (I lived in Italy for over 
a year) there's some truth to it. But 
though it takes on different shapes- 
sexism is universal. Were you to coin- 
habit with most American families or 
crowds of punks, regarding them with 
the close scrutiny of an outsider, I'm 
sure you would find abundant exam- 
ples of the exploitation, boorishness, 
and exclusionary behavior you de- 
tailed in your letter. 

Generalizing nationalities some- 
times has its function, but it's also 
dangerous. You are characterizing a 
people by several examples, in one 
city— but there are always like minds if 
you try hard enough to find them. 
Remember, too, your own country's 
blemished hide, with sexism in the 
media, the family, the punk scene. 
People in glass houses, as they say... 

I truly sympathize with you, but 
part of intentionally becoming an alien 
is suffering the pain of alienation. And 
the most valuable thing about it, in my 
opinion, is how distance reveals the 
ugliness of your own comfortable 
home. In bocca al lupo, -Arwen 

/^\ Hello all MRR readers! 
( Jj ) I'm writing this as a warning 
* — for those of you who are gener- 
ous enough to let travelers stay in your 
homes. Not too long ago, I was at the 
last Devoid of Faith show, and I met 
three traveling punks (a guy named 
Shamus, a girl named Alex, and a guy 
named Stu) who were hard up for a 

place to stay. 
Having been in 
their position 
many times be- 
fore, my girl- 
friend and I of- 
fered them a 
place in our apartment for a few days, 
despite the fact that it would be a little 
crowded, since a touring band was 
also sleeping there as well. Shamus, 
Alex and Stu were all very grateful, 
gave us some food to help feed every- 
one with, and were generally nice 

My band was playing several 
shows that weekend, and one of them 
was out of town, and since they didn't 
have much gas and didn't want to 
leave town with us, I left them alone in 
my apartment, simply saying, "Just 
lock up if you leave." Well, after the 
show, we came back to find. ..Our 
house was just the same as we left it! 
Ourtraveling friends treated the space 
with respect, and even cleaned up a 
little bit. The next few days are sort of 
a blur, with Brother Inferior, Shamus, 
Alex and Stu, and the normal barrage 
of roommates staying at our house. 
But everyone got along and all was 
well. However, a few days later, ev- 
erything changed. We saw the three 
kids off to NYC, and were sitting back 
and enjoying the peace and quiet, 
when I went to my record collection to 
put something on, only to find a hand- 
ful of records missing, one in particu- 
lar being my Devoid of Faith Purpose 
Lost 10". The other records are noth- 
ing that can't be replaced, but the 
DOF 10" is hard as hell to come by, 
and I'm extremely aggravated. After 
discovering that, I found, (as did my 
roommates) that other assorted items 
had been taken. (And I want to make 
clearthat nobody in Brother Inferior or 
any of the other people who were at 
my house could have taken it, since I 
saw it after they all left. The only 
people who could have taken it were 
Shamus, Alex and Stu, Shamus in 
particular is suspect, since he is one of 
those rare record collecting dorks.) I 
spent the next month or so calling 
friends in NYC, Pittsburgh, Mass., and 
any other surrounding states, hoping 
I could catch up to them, but had no 

So I'm writing this as both a 
warning, and possibly for help. Don't 
trust these fuckers. They're backstab- 
bers. I don't know much about them 

other than their names, but I know that 
Stu is originally from Maine, and Sha- 
mus, I believe, is from Florida, but I'm 
not 100% sure. Don't let them'into your 
house, or anywhere near anything you 
treasure. Also, if anybody knows where 
I can find any of them, please let me 
know, even if it's across the country. I 
don't expect to get my records back 
(although it might be nice), but I do want 
to confront these fuckwads, and maybe 
get five minutes alone with them. Any- 
body with info, or whatever, can write 
me: Andrew/ 480 West St. Apt. 1/ Alba- 
ny, NY 12206, or e-mail me at Thanks for 
yourtime, and please watch who you let 
into your home. 
Andrew, Police Line 

^^ Hello Maximum, 
^^W I was wondering about 

^k^r the ad/ review policy, concern- 
"^ ing the recent debates about 
Taang records/ GMM stuff. In the 
November issue there is an ad featur- 
ing the band Best Defense, "Six Gun 
Justice", advertised as "American Oi 
Core RAC fury"... RAC being the oper- 
ative initials, I hope ya know what it 

OI' Bruce Roehrs has been pretty 
much overstepping the mark as far as 
this is concerned. One of his recent 
columns featured more than one band 
that shouldn't be in there... Bearing in 
mind why a movement like Rock Against 
Communism was started up - as a reac- 
tion to the Rock Against Racism shows 
that took place in the 80s. 
Onto other matters... Scott Soranio's 
column mentions that the last time when 
punk was "a threat" was Black Flag and 
the DKs.... Typical American view, but 
the rest of the world is busy being active 
while he is singing Marilyn Manson's 
praises.... Here in Germany, enough 
squat riots have been started off by 
punk groups. You had bands like Slime 
in the later 80s with a big impact on 
society. In the UK, bands like Conflict or 
Crass should not be forgotten either. 
Not to mention the underground punk 
movements even today in Asia, Turkey 
and countless other places. So Scott, if 
the only place you find inspiration is 
MM, then please someplace else to 
write, other than insulting punk and 
hardcore people who are active, and 
who do try to make changes... 

Tom Chapman/ Berlin, Germany/ mio- 

'■ Recently, I had the pleasure 
of once again riding Greyhound. 
It wasn't a long ride, but it was just long 
enough to remind me of the horrors of 
the 'Hound. Much more disturbing than 
the usual discomforts, though, was 
having the bus searched by the Drug 
Enforcement Agency. 

We pulled into the Toledo sta- 
tion to let people on the bus on the way 
to Detroit. A man and a woman got on 
board and walked casually down the 
aisle, as if looking for seats. Suddenly, 
they turned tQ one man, showed a 
badge, explained they were DEA 
agents looking for large sums of mon- 
ey, drugs, or guns, and asked if they 
could they search his bags. There was 
another agent standing by the door of 
the bus, and two or three more 
outside. I started asking them ques- 
tions. They asked if they could search 
me, and I told them no. They fucked 
with a couple more people, then left 
the bus. This is the first time I've seen 
this (I try to avoid riding Greyhound at 
all costs) but other riders told me that 
they've seen this quite frequently as of 

Besides my disgust at the gen- 
eral invasion of privacy and personal 
space, there are a few things that I 
want to point out. For one, the driver 
wasn't on the bus during the search. 
There was no Greyhound employee 
overseeing the search, so therefore 
no official witness to be sought for 
recourse (however weak) in the event 
of misappropriate conduct or abuse of 
power. If I had a complaint, at least I 
could take it to whatever Greyhound 
worker was there, and be able to get 
this person's word on it later. Again, 
it's not much, but it might be some- 
thing. Any fool can go to the army 
surplus store and get a badge, and 
these agents were in plain clothes. 
Not that I really expect some jerk to 
pose as a DEA agent on the bus and 
paw through my dirty socks, but it's 
something to be considered nonethe- 
less. Greyhound gives no announce- 
ment or warning, in any way, that if you 
ride Greyhound you may be subjected 
to search by the DEA. 

Now, how much drug/ gun traf- 
ficking can really take place on the 
bus? That Greyhound gleefully com- 
plies with this intimidation and police- 
state tactics is sad, but to be expected. 
I don't know the exact boundaries of 
your rights in this situation; I do know 

that you can tell 
them "no" when 
they ask to 
search your 
stuff. I'd suggest 
you do it in a loud 
manner, and let 

everyone else on the bus know that 

they can say no as well. 

John Gerkin 


My understanding is that the 
cops don 't ha ve the legal right to search 
your stuff without your permission, but 
Greyhound doesn't have to let you 
stay on the bus, either. My opinion is 
that Greyhound will suck up to the 
cops long before they will stand up for 
any individual passenger's legal rights. 
I've been on the 'Hound in S. Florida 
when cops searched people's stuff. 
and seen cops get on Amtrak in DC to 
hassle one particular passenger: "Is 
that your bag? That's your bag. It's 
your bag, right?" etc., etc. Tell 'em 
they can't look through your stuff 'cuz 
you have personal stuff in there you 
don't want them looking at (your sup- 
posed right to be free from illegal 
search and seizure is based on your 
supposed right to privacy.) In S. Flor- 
ida, when I told the cops no. they kept 
asking me over and over. I remem- 
bered the advice my dad would give ■ 
"if that's your story, stick to it" - and 
looked them in the eye and kept say- 
ing no. Finally they left me alone, and 
the guy in DC had success with the 
same tactic. Well, thanks for writing. 

<1&mL Dear everybody, 

N»5^ While riding my stationary bike 
^^ on rainy days I need something 
to keep my mind off this mental tor- 
ture — those few familiar with this par- 
ticular activity know what I'm referring 
to — yesterday it was issue #198 of 
MRR. I mostly focused on the col- 
umns, which always are the worthier 
of interest in the whole zine of reviews. 
Anyway, I found statements that I could 
only agree with, some of which made 
even more sense when linked to one 

For the countlessth time, I read 
in Scott Soriano's column that punk 
rock has become anything but a chal- 
lenging musical genre, which cannot 
be denied, can it? That shouldn't deter 
anyone from enjoying it more than 
other "mainstream" stuff, but you can't 

consider yourself a threat to the system 
just because you listen to loud music 
with anger-filled lyrics. Face it. 

The other relevant column I read 
on my nowhere-going ride was, ironi- 
cally enough, Pete Menchetti's diatribe 
against cars I appreciate this a lot, since 
the issue does not seem to be a major 
concern in Punkdom, though it appears 
to me it's a highly relevant one. I'm 
constantly irritated by most people's 
overuse of cars. 

Think about it: cars are the sys- 
tem, the most blatant evidence that 
corporations are in total control, a vivid 
measure of capitalist rule and the global 
spread of it. Our cities are plagued. 
General Motors destroyed public trans- 
portation facilities in the '20s in the 
US so people would have no option, 
and they obviously have succeeded. If 
you want to start challenging the main- 
stream, start thinking about how you 
use your car, and more generally think- 
ing how you spend your money. Corpo- 
rations are about making money, so if 
you want to question their policies, don't 
give them yours. It works sometimes — 
Monsanto's attempt at forcing consum- 
ers to buy their genetically engineered 
crops was eventually a failure in Europe 
because people voiced their refusal 
while other options were still available. 

Now, of course I'm not claiming 
that a more sensible relation with your 
car will dramatically change things, but 
remember that America alone is re- 
sponsible for the emission of 25% of all 
greenhouse effect-causing sources. If 
you seek alternative lifestyles... 
Now, I confess, I do have a car. I need 
one. Many people do — I'm one of them, 
but I only drive for want of a better 
option, that is, not very often. So my 
driving mileage is far inferior to my 
riding mileae, and I do save a lot of 

Write to me at Frangois Bouthi- 
aux/ 19 bis rue de Ecoussons/ 25300 
Pontarlier/ France, or email me at 
fr.bouth @ On a sadder note, 
a good friend of mine is in jail and he 
might be in there for a long time. He is 
denied access to everything he used to 
like outside - he can't even listen to 
music or read zines. You would hardly 
believe how much he appreciates get- 
ting mail. 

Write to him: Fred Jeannerod/ 22758 
cellule 5/ Maison d'arret/ 5 rue Louis 
Pergaud/ 25000 Besancon/ France/. 

~ | Maximum, 
y I'm writing in response to Srini 
_ Kumar's reaction to Mimi 
Nguyen's article "Revolution 
Unlimited? Consuming Unamerican 
Activites", in Maximumrocknroll #198. 
I think the way he is handling the 
respectful critique of his business on 
Mimi's part is outrageous. Calling it a 
"punk rock lynching"? As a black per- 
son, that in and of itself is extremely 
offensive. As if calling attention to 
(questionable) politics and definite in- 
consistencies is anything like the per- 
secution and violence accorded to- 
wards blacks by the KKK. 
Mr. Kumar definitely has a flair for the 
dramatic, and apparently he trans- 
lates this into his personal relations as 
well. He's taking the critique to an 
unbelievably personal level, emailing 
people on her links list, commission- 
ing people to infiltrate mailing lists and 
forward him negative emails. His per- 
sonal attacks towards Mimi are out of 
line. Never in her essay did she attack 
him in this manner. 

I completely and wholehearted- 
ly support everything in Mimi's article, 
and no, that does not mean I'm not 
"thinking for myself". There's a lot of 
inconsistencies in Unamerican's busi- 
ness, and she laid out most of them 
beautifully. The fact that he can't stand 
to hear an honest, respectful critique 
of his politics reveals that he actually 
doesn't practice what he preaches. I 
definitely don't think that Unamerican 
is the only business in the world (or 
even the "punk community") that has 
these issues, but taking one to task is 
way better than just letting them all 
slide. Obviously, he can't accept the 
facts — that his ideology and his busi- 
ness are mutually exclusive of each 
other — and therefore he tries to make 
other people believe the lie instead of 
walking the walk himself. 

Personally, Unamerican was a 
business I knew was there, but I would 
never buy there. The inconsistencies 
are just too great. They only became a 
real issue with me when I saw the way 
Srini was acting towards Mimi's cri- 
tique. I mean, wishing harm on some- 
one? Come on! I think he's trying to 
divert our attention from the truths 
brought up by Mimi's article by focus- 
ing on the (imagined) cruelty. This 
whole brou-ha-ha is probably exactly 
what he'd like: to shine the spotlight on 
himself and inspire all these "punk- 
rockrevolutionary" kids to support his 

capitalist revolu- 
tion by buying 
his stickers and 
fighting the big 
mean critiquer. 
(Maybe a "Fuck 
Mimi" sticker is 
in the works?) 

I don't really appreciate being 
played the fool. Even if it is in the name 
of "revolution". — TashaHairston/ 

(editor's note: the response in ques- 
tion was circulated on the net, but 
retracted from MRR's letter section by 
Srini after we requested he cut its 
length. His revised rebuttal appears in 
this issue.) 

©Dear MaximumRockNRolland 

I'd like to compliment you all 
on the article exposing the con job 
Unamerican Activities has been pull- 
ing on the punk/DlY community. My 
guess is that none of this comes as 
much of a surprise to anyone who has 
ever ventured to ask "who is behind 
Unamerican Activities?" and "what is 
the real objective behind such an op- 
eration?". Being scrutinized is not 
something that's unique to Unameri- 
can Activities, but rather the rule for 
any company that espouses indepen- 
dence and revolution at the expense 
of DIY, punks and the politically ac- 
tive. I began to ask those questions 
myself one night at Gilman, and it 
wasn't long before I found out, from 
people who know Srini, all about the 
hollow explanations and rhetoric used 
to deflect the public from Unameri- 
can's actual capitalist ploy. 

Like I stated, I don't believe that 
Mimi's expose will come as a surprise 
to anyone in the Bay Area. From what 
I understand, I was ratherlate in learn- 
ing about Unamerican's pose. What 
Mimi's article does so well is to take all 
the rumors and innuendo, and sub- 
stantiate them by using Srini's own 
long-winded, self-promoting diatribes 
(does he ever say or write anything 
without plugging his company, or his 
own delusional self-image?) These 
have never seemed like convincing 
justifications to anyone, but the way 
they are laid out in Mimi's article leaves 
no doubt as to what Srini and compa- 
ny are really up to. 

To know Srini (or what he's 

about) is to dislike him, especially if you 
are into honesty and integrity. I've nev- 
er met anyone who has met Srini that 
will say anything good about him, other 
than to point out that he's a pretty good 
con man. Why is it that so many people 
dislike, or even hate Srini and Unamer- 
ican? The answer is rather obvious. 
Srini has chosen to build his company 
by exploiting DIY persons and busi- 
nesses. The backlash is a result of 
those same persons realizing that he is 
possibly a fraud. After Mimi's article, I 
doubt there will be much of an argu- 
ment to the contrary. If Srini had been 
honest about being the capitalist he is, 
and chosen to sell his wares in the 
corporately controlled marketplace, then 
I'm certain that his success would have 
been greeted with great admiration by 
his capitalist peers. 

In closing, I'd like everyone who 
reads Mimi's article to check her sourc- 
es themselves. Unlike other items that 
have appeared in MRR over the years, 
namely the infamous Ann R. Key col- 
umn, Mimi's article is not based on 
hearsay and an active imagination. It's 
based on certain realities that contra- 
dict the whole premise of Unamerican's 
justificationsforSrini'sconvenient brand 
of political analysis. If Srini has any 
response, especially one that address- 
es Mimi's argument point for point, then 
I'd love to read it. I anticipate, however, 
that all we'll get is the same laundry list 
of bullshit, and the obligatory self-pro- 
motion that usually accompanies it. 
Thanks and keep up the good work. 
Jay Unidos 

VbTI Dear MRR, 

\«p) My god, I've been reading this 
l^ zine for fifteen years and this is 
the first time I've been moved to 
write a letter to the editor. I just wanted 
to .tell you all how much I loved Mimi 
Nguyen's "Fuck Unamerican" article. 
Intellectual critical analysis of consum- 
erism and capitalism within punk in 
MRR? Thank you thank you thank you. 
■ I think the article is great, be- 
cause it touches on many of the central 
issues and contradictions of the politics 
of punk. While no one can argue about 
the number of individuals who've got- 
ten politicized through punkscenes and 
music, it also seems to me (through 
personal experience) that many politi- 
cized punks move out of the scene to 
get more "serious" about their political 
work. While there are many causes for 
this (desire to expand from a punk "ghet- 

to", to do more overtly political work, 
developing hearing problems, etc.), 
one that is often overlooked is whether 
many strains of punk are actually fight- 
ing for a more artisianal, boutique cap- 
italism instead of social revolution. 

While Mimi's article focuses on 
one project that has emerged from the 
punk scene, it poses questions about 
many of our punk institutions. We all 
make compromises with capitalism to 
survive. But does punk, with its reli- 
ance on the principles of DIY and indie 
record companies, challenge capital 
or simply argue for its, own little slice? 
Without a doubt, the support of local 
scenes, zinemaking, and political ac- 
tion is important not only for individu- 
als but for larger political movements. 
And obviously, punk is not monolithic 
— we're connected to it for different 
reasons. But what is it about punk that 
spawns free-enterprise projects that 
call themselves "revolutionary"? 

It is my understanding, through 
reading an email response from Srini 
of Unamerican, that the folks over 
there are very upset about the fact that 
Mimi took them seriously enough to 
spend the t time needed to examine 
and write about their ideological un- 
derpinnings. Alternating between ar- 
guing that they are just a little business 
run out of their apartments and the 
most formidable revolutionary force 
on earth, (one of the many have-it- 
both-ways things Mimi pointed out in 
her article) Srini blames the article on 
personal hatred of himself by Mimi 
and the MRR editors. While ignoring 
the question of why so many people 
supposedly hate him, Srini also ig- 
nores the ideas brought up in the 
article.To me, they are some of the 
most important ideas that we in the 
punk scene can examine, xoxo, 
Gordon Zola/ San Francisco 

PS Since I'm writing, I want to 
bring up something that's always both- 
ered me. That little disclaimer on the 
zine review section that says "Specific 
criticisms aside, it should be noted 
that any independent release deserves 
credit for all the time and money going 
into it." If memory serves me right, 
(and ignoring, for a second, that white 
supremacists also put out "indepen- 
dent releases" and the fact that this is 
not on the record review section) Tim 
Yo stuck that on there when certain 
zine reviewers started actually giving 
a negative review or two for zines with 
racist, sexist or homophobic content. 


Please tell me 
why we should 
give credit to the 
money going 
into a zine. May- 
be the reviewers 
should incorpo- 
rate it into their reviews. Feel free to 
use this review I've prepared: "Well, 
the writing sucks, and the writer is 
probably a fascist, but he has a trust 
fund so we should all thank him for 
doing this zine." 


About the zine thing. . . My recol- 
lection is that Tim rarely gave fuck 
about zines at all, so I would be very 
surprised if he went out of his way to 
make sure shitty fucked-up zines got 
props. And that "disclaimer" is in the 
header of the record review section. 
Anyway, I will ask some of the oldsters 
around here, and if you're right, I'll 
mention it in the next issue. Jeff M. 

^^ Dear MRR. 

I This is !!!srini with Unameri- 
^^ can Activities (http://www. un- 
american. com), and, you know, 
folks, Mimi's right. Shit god damn, do 
we suck. We're one of the worst things 
ever, fuck us, dude. Punk will never 
make it after us; we're going to destroy 
it totally, fuckin A! We have no re- 
spect. We are wack bigtime. Fuckin' 
we don't keep our promises, we make 
off with bags of loot from idiots, and we 
use our fame to meet cute girls. Fuck 
!!!me, especially, because I'm a fuck- 
ing capitalist for sure. Not to mention 
a fucking schizophrenic who needs 
some Prozac bad. "N-n-n-n-n-no val- 
ues! No values\" 

The truth is that we totally suck 
because it's so much fun being evil! I 
started Unamerican Activities to learn 
how to hypnotize Americans (yes, that 
means you, punk rockers, unless you 
aren't American, in which case you're 
reading an American magazine so 
shut up for a minute) into being my 
best friends without trying too hard. 
"Fuck Work" means fuck work for !!!sri- 
ni, because I'm gonna be mister mon- 
eybags 'coz the kids are gaga about 
my shit. All kinds of people think I'm 
the fucking bomb, and yeah I love /'/!!! 
I go to fucking Vegas and people 
recognize my face. Dude, I've been 
on TV! I fucking rule, that's why - 1 am 
so fucking cooHW. 

Why does Unamerican exist? 

We are here to control you, folks. We 
believe in order to conduct a revolution 
(and get rich in the process), we have to 
move our army (that's you) as one. We 
are here to manipulate you into a cer- 
tain set of behaviors that will land your 
cash in ourpockets. Hell, we even want 
you to market our shit to your friends -at 
a fat profit for us, of course. We talk all 
this bullshit about being so politically 
aware and all that, but we are totally in 
it for the money and fame and that ain't 
lyin'. I keep a notebook and come up 
with slogans - and that's my job. You bet 
your gweet ass I'm fucking smart - I'm a 
madgenius\ We study advertising and 
marketing because they're control 
mechanisms. We are going to issue 
orders and people are gonna listen! We 
are so coercive, we are basically telling 
you what to do when we say "Quit your 
job, send us all your money, shave your 
head, don't vote, and start an e-busi- 
ness! Oh yeah and tell your friends!" 
Unlike the Causey Way, we area cult!!! 
Not only that, yeah, fuck yeah, Mimi's 
got a lot of valid beef. I am, after all, a 
fucking capitalist. For instance, I love 
the e-business press! I read Business 
2.0 maybe ten thousand times closer 
than I'd ever read this piece-a-shit mag- 
azine. And Mimi thinks I'm a capitalist, 
and she's smart, so there you go. I love 
Capital, I love Capital, [dancing] Ooh 
yeah I love capital baybeelW Dude, 
Capital just fucking rocks. (There's a 
sticker idea!) Capital is going to be my 
best friend, fuck all other gods but Cap- 
ital. I wanna buy mac/shit dude, I wanna 
be rich as fucking hell. Dude, I'm going 
to buy (check this out) a jacuzzfl. And 
one of them New Bugs! I wanna ride 
across the prairie in a New Bug (black, 
of course) with a huge upside-down flag 
flying off W.W Yeah baby, I'm ten grand in 
debt now but I'll be blasting the Sabbath 
and risking arrest in style, because soon 
I'll be rich and famous. So anyway, go 
on, hate me all you want, it won't make 
a damn difference in your pathetic life. 
Now on the other hand, if you've got a 
business and you wanna deal with the 
Punk Rock Don, you had better get in 
touch with me before I steamroll right 
over yo' punk ass. Serious 'n shit, you 
betterwatch yourass because I'm more 
capitalist than you anyday. Fuck yeah. 
Also if anyone needs a job, send me a 
resume and a cover letter and tell me 
what it is you do and how you'd fit into 
the puzzle (put "resume" somewhere in 
the Subject line, please!!!). It just so 
happens that I wanna hire a//y'all, full- 

time or spare time either way, as my 
personal army. (Except for you, Mimi.) 
My email is 
(y'all wanna interview me fo' yo' 'zines 
'n' shit, email me there too). And if you 
do still hate me, feel free to fuck off. 

PS God, this letter is a lot more 
fun than the other letter. Thanks forthe 
second chance, Sean. Can I tell you 
something man? I actually thinkyou're 
a pretty neat guy. You handled my 
incredulous phone call ("why are you 
publishing a hit piece on me?!?") pret- 
ty well, I guess; your email about this 
letter was courteous, arid I was ex- 
pecting much worse. I have a big ques- 
tion foryou. I still don't understand why 
you couldn't encourage Mimi to actu- 
ally talk to me in her writing the article, 
and how you could let its one-sided 
venom slide through unedited. You 
seem smart, but don't you know you're 
letting your distaste for my project ruin 
your objectivity? Don't you feel that 
neither you, nor Mimi, nor Arwen nor 
anyone else have the right to judge me 
without meeting me? You people don't 
even know me, yet you hate me. This 
isn't fucking fair, man! And it makes 
you look like shit. Don't even think 
about yourself -think about Maximum. 
People work hardXo make Maximum 
what it is; don't you feel responsible for 
keeping the reputation of this maga- 
zine at a high level? Don't you value 
your publication's standing as a non- 
biased journal - the Town Square of 
punk, as it were? Anyway, I do believe 
you owe me an apology, which I'll take 
in the form of a beer. Give me a call, 
and let's knock a couple back. Okay? 

Dear Srini and readers, 

I think the above missive is to- 
tally stupid. I feel bad about running it 
at all but Sean promised Srini we would. 
The whining about Srini being hated 
makes my stomach sick. He saidx, y, 
and z, and Mimi's article said those 
things are fucked or bullshit and why. 
Get called on your shit, change your 
tune ? And appealing to our supposed 
"objectivity" is insane. Regardless, I 
doubt the market for catchy sticker 
slogans will dry up. Time will tell if 
Unamerican will go out like Man's Ruin 
(who recently left Mordam for Sony), 
but I wouldn 't be surprised a bit. JeffM. 

(use this mainly for comments & letters- 
to-editor. Use phone for ad reserva- 
tions. Do not expect answers, but you 
might get one) 

we MrQrr' stiut up 

And *E wOIV# 60 AwAyfl 


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Opinions expressed jre solely those »i the columnists and (thankfully) arc not editorial policy. 

Mykel Board sez: 

Two things you won't find in Rio: rain and free 

— Leonardo from JASON 

Brazilian boys constantly adjust them- 
selves. I don't know whether it's the ubiqui- 
ty of foreskin, the sexual permissiveness, or 
a general Latin American propensity, but 
keep an eye on any group of Brazilian men 
and within a minute one of them will have 
his hand on his crotch... checking his zip- 
per, moving himself around. A nudge this 
way. A tug that way. A pull up or down. 
Adjust. Adjust. Once adjusted, someone 
else takes the cue and starts the process on 
his own tamale. Not being used to this 
ritual, I can't help glancing at those fingers 
as they move their cargo around. Occasion- 
ally, someone notices me watching. 

I start this column in a DC-10 flying to 
Rio de Janeiro. Usually, this would be where 
I get nervous over what I forgot to do at 
home. Is the coffee pot unplugged? The 
door locked? The light left on? Not this 

Now I'm nervous about when I get 
there. The Lonely Planet Guide talks about 
planted drugs, crime on every corner. Cops 
station themselves on the road to Uruguay 
(the one I'm taking) to shake down foreign- 
ers and back-packers. I'm both. I've lined 
my backpack with wire mesh and wrapped 
steel cable around it. OK, you murderous 
fuckers — break into that! 

Off the plane. Customs is a breeze. I 
try to declare my computer. They don't 
even look at it. 

"Just go through that door there and 
press the button." says the smiling woman. 

I know, it's gonna slime me. BUZZ, I 
get only a green arrow that points to out- 
side. I hate when things go smoothly. It 
means they can only get worse. 

Leonardo meets me at the airport. He's 
adjusting himself as I leave the customs 
area. He wears his JASON t-shirt. I wear my 
"Old Punk's Never Die" one. But he 
wouldn't mi ssmeanyway. How many guys 
are running around in black, with steel 
cable round their backpacks? 

"You look like my father." he says 
when we meet. 

Thanks, I need that. 

Typical of the small Brazilian middle 
class, Leonardo's got a computerbut no car. 
He lives with his parents in a little house in 
the burbs, two busses away from anywhere. 
We walk through the ram to the busstop 
and get on. 

Leonardo's parents have a two bed- 
room apartment. In one room are his par- 
ents. In the other, Leonardo's brother on the 
bed, Leonardo on the pullout drawer of the 
trundelbed. Me, on the floor. 

Mom speaks less English than I speak 
Portuguese, and lemme tell ya, that's muito 

f>oco! But she's got the rice and beans ready 
or me, though, along with some salty chick- 
en. I chow down and take a nap. We've got 
a date to meet Manfrini in town. Then we go 
see some bands in another city. We'll take a 
boat to get there and a bus back. Figure that 

Manfrini is in a band called Claro que 
Nao. (My keyboard won't write a tilde over 
the "a".) The name means "Of course, not." 

A large TV sits center stage in Manfri- 
ni's livingroom. Around it hang a buncha 
college age guys, without mohawks, pierc- 
ings, or obvious tatoos. They watch a soccer 
game. It's the national sport. No, not soccer, 
watching TV. It's not quite as bad as in 
America, but it's... whoa! What's this? 
Breasts. Girl breasts. Full and complete, 
with nipples, right there on a TV ad for 
something I can t figure out. You don't see 
that on American TV. At least not without 
cable. OK, now I understand the real Brazil- 
ian national sport. 

"You want a beer?" asks Manfrini. 

"Claro." I say. "Do I have to pay for 

"Claro que nao," he answers, bring- 
ing me this huge bottle of Antarctica beer. 
It's only the first. 

Among the group in the livingroom 
are two girls. One is a tall well-propor- 
tioned young woman. She wears a pink 
CBGBs t-shirt that molds to her upper body. 
As a matter of fact, all over Brazil, girls' 
clothes are tighter than humanly possible. 

My theory is that Brazilians havea rite 
of pubescence. At the age of ten, parents 
give their female children a snug-fitting t- 
shirt and pair of jeans. They are not allowed 
to remove these two pieces of clothing until 
they're married. This gives the girls from 
five to ten years to mold themselves to the 
clothes. It's' like Chinese foot-binding, with 
results much more aesthetically pleasing. 

The CBs girl says her name is Ramo- 
na. She's funny loud and her English is 
great. She's twice my height with a full 
head of short-trimmed iet-black hair. 

There's also anotner girl. Thin, shy, 
shorter than I am. I smile at ner. She smiles 
back. I'm in love. 

"My name is Nanda," she says look- 
ing at me with eyes that melt my heart and 
stiffen elsewhere. "I only speak English 
when I drunk. I not drunk." Then she looks 

Saved by the bell. The doorbell. It's 
Erico, aka Korn. He's from the Sao Paolo 
area. I "met" him through his webpage, 
Homopunk Brazil. Can't wait to meet him in 

I pictured Brazil filled with these little 
coffee-colored punkrock boys. (I always 

wanted to write a song called "Little Puerto 
Rican Boys With No Shirts On." I know 
Braziliansaren'tPuertoRican, but they ARE 
hispanic, aren't they?) 

In walks Erico. Six foot tall... and blond. 
He's got a spike piercing through his lower 
lip and a bandaid across the bridge of his 
nose — a motorcycle accident, he explains. 
OK, he's not Hispanic. But I wouldn't kick 
him out of bed. (He would, however, kick 
me out of bed... but that's another column.) 

Time for another beer, my third Ant- 
arctica. Getting drunk is like visiting an old 
friend. Hey Joe, here we are again. You and 
me. Old times. Getting together and enjoy- 
ing ourselves. Doing what we always do. 
Feeling what we always feel. Drunkenness 
is a pal. Always there when you need him. 
Always familiar, no matter now exotic the 
location. It's comfortable and reassuring. 

Throughout the night, at this party, at 
the punk show, at the birthday party where 
the newly 20 year old gave me my Yah- 
Man-Jah, during all of this, the beer keeps 
coming. Bottle after bottle. Huge bottles of 
Antarctica. From the store, from the bar, 
from places I can't imagine. Of the next 72 
hours, I'm sober for 10. 

Right now, Leonardo wants to get 

"We gotta make that boat." he says. 

"Fuck the show," says Manfrini. "I 
know where there's a party. It's my friend's 
birthday. He's gonna be an old man... twen- 
ty! There's gonna be free beer." 

Leonardo looks at me. "What do you 
want to do?" he asks. 

"I don't care," I tell him, "I'm new 
here. It's all an adventure." 

"And you said there'll be free beer at 
the party?" I ask Manfrini. 

He nods. 

"Then I guess we go to the party," 
says Leonardo. 

The pouring rain doesn't bother us 
very much as we make our way to the 
festivities. It's at the birthday boy's parent's 
apartment. A very middle-class place with 
a glass breakfront, a huge dining room ta- 
ble, a couch with a fancy white cloth cover- 
ing, and a zebra collection. Some folks, usu- 
ally girls, collect frogs, or pigs. This guy's 
dad collects zebras... Carved, stuffed, por- 
celain, metal, fragile glass treasures. 

No time to look... More beer! And 
wild dancing to The Clash, The Buzzcocks, 
The Sex Pistols... This guy is turning twen- 
ty. He wasn't even born in 1977! 

By midnight, half the zebras are in 
pieces on the floor. I have my first souvenir, 
a bead necklace, called a Iameinda (pro- 
nounced "Yah-Man-Jah"). It's from an Af- 
rican religion imported into Brazil with the 
slaves. The birthday boy says it'll protect 
me. I ask him if it'll get me laid. 

There must've been more that hap- 
penedthat night, but I don't remember it. I 
wake up at 2PM the next day, in some 
strange bed. Fully clothed and alone. 

At 3PM the day's first bottle of beer 

comes out. By the start of the punkrock 
show that night, I'm back with my old 

Fortunately, Kinjin, the owner of the 
apartment 1 ended up in, has a car. He's also 
a skilled drunk-driver, who drives Leonar- 
do and I through the rain to the show. I 
forget all the names of the bands that played 
There must've been a dozen of 'em. The 
best one, with an awful name, was Conspi- 
racao 77. (Is there a Seventy Seven '77? There 
will be tomorrow.) 

After theshow, Leonardo splits. Man- 
frini and the girls take me on a tour of whore 
street. Right near the club, there's a bunch 
of not-too-attractive girls, in typically Bra- 
zilian super-tight clothes. Many of these 
clothes are tied together with strings that 
reveal too much flesh in the diamondshape 

During the walk, Rampna taps me on 
the shoulder. She turns to face me, stroking 
her CBGBs covered bulging breasts. 

"You ever been here? ' she asks. 

"No," I answer, "but I'd sure like to 

After whore street, it's off to a Funk. It 
takes place in a large white building next to 
Caragi, where the punkrock show was. 

The CBs girl speaks with the big black 
bouncer at the door. She hangs onto his 
shoulder and whispers into his ear, letting 
her breasts brush against his upper arm. He 
smiles, nods and lets us pass through the 
gate into the concrete house. 

Inside, the place has been cleared of 
furniture. It's a hard, concrete floor, cov- 
ered with a soft white dust. In the back of 
the room, a DJ scratch-mixes house music. 
Heavy beat. No melody. On the concrete 
floor, moving to this music are about fifty 
young men. Most are darker than the aver- 
age punk rocker. Most are shirtless and 
barefoot, looking like Puerto Rican boys. 

As we enter, we see the crowd danc- 
ing around. A little girl, maybe two, stands 
near the door, her hands clasped behind her 
head. She thrusts her pelvis out and wig- 
gles it side to side in time to the music. 

We make our way up a concrete ramp 
to the dance floor. Then, off to the side, near 
the DJ booth, I see one of the dancers, a 
lanky young man wearing a Chicago Bull 
hat, suddenly raises both hands and start 
swinging. Moving his arms like a windmill, 
he goes into the crowd and starts whacking 
anyone in his way. Slap! Slap! Slap! Not 
love taps. You can hear these hits echo 
against the concrete walls. 

One of the dancers fights back. About 
twenty people stop dancing and form a ring 
around the pair. The others keep dancing as 
the music get louder. 

Whack! Whack! The newest fighter 
slaps the attacker on the side of the head. 
Then the chest. Slap! Slap! The attacker 
charges back. Then a kick. Real pro. Knee 
raised to the chest, then pop! Straight leg 
and back. Like a rubber band. 

Kick! The slapper twists and kicks 

back, landing a hard one on the whacker's 
chest. The whacker falls back, just catching 
himself against the concrete wall. He charg- 
es again. The slapper is ready. His weight 
shifted. He kicks out. 

Thud! The attacker is quicker. His leg 
shoots out and catches the other's. Thwack! 
Shuuf! The slapper is in the air. Sideways, 
parallel to the ground. Legs ripped out 
from under him. Blam, he falls hard onto 
the concrete floor. There's a second of si- 
lence. Applause from the crowd. A surge 
toward the slapper. Two people stand on 
either side of the fallen young man. Each 
grabs him under an arm pit. They hoist him 
to his feet. Slap him on the back, and get 
back to dancing. 

"That's REAL punkrock, man," says 
Manfrini, adjusting himself. 

As the dancing continues, the flow of 
the crowd is regularly broken by young 
men flailing into the throng, fists flying. 
Some fight back, some get out of the way. 

A short older man walks around with 
a plate of barely fried chicken. He offers it to 
us, smiling and nodding when we take it 
and gobble it down. It's too salty, but other- 
wise really good. 

In front of me, a very muscular Negro 
stations himself, legs slightly bent, hands 
resting on his knees. He shifts his hips, so 
that his ass is high and out. Then he thrusts 
his pelvis forward and backward in dou- 
bletime to the music. 

A younger, more attractive and less 
muscular Negro, shirtless and shoeless, 

Elants himself behind the first. He lowers 
is body so that he can press his hips against 
the buttocks in front of him. Ana press he 
does. Shake. Shake shake. Thrust thrust 
thrust. Off they go. Into their own little 
world. The two of them, hips against ass. 
Pushing forward and back in a ritual fuck. 

The man in the rear leaves to join the 
dancers. The Negro stays there, still wag- 
ging his ass. This time at me. I'd like to join 
in, but I'm afraid I'll get a hard-on. I don't 
think that would go over too well here. 

Still, I can't help just moving my hips 
in time to the thrusts. I just don't touch. 
With the pulsating music, other pulsations 
can'tbe far behind... Whoa whathappened? 

The music stops. The lights come on. 
Bright and full. Half a dozen young men 
come over to us and form a semi circle. 

The tall boy with the Chicago Bulls 
hat says something to me. He looks wor- 

"Io nao fallo Portuguese," I tell him. 

Manfrini takes over. I don't know what 
they're talking about but the boy seems 
agitated . Someone else from the circle shouts 
something. The boy shouts back. There's 
more shouting. The circle tightens. 

Nanda, who must be drunk because 
her English is perfect, says to me. 

"The owner wants us to leave. He says 
we are different from them and we will 
cause problems. The boys here, though. 
They don't want us to leave. They want us 

to stay here." 

It's not long before an older man, not 
much younger — or taller — than me, comes 
up to our little group. The semi-circle parts 
to let him through. He wears a torn white t- 
shirt, loose blue shorts, and thongs. He's 
obviously the owner. 

He speaks, Nanda translates for me. 

"I give this place for poor people to 
have parries," he says. "We don't like out- 
siders to come and ruin things." 

"We're not outsiders." says Manfrini, 
"we have the same kind of party next door. 
You can come to our party." 

"I don't want people come to'watch 
us," continues the older man. "We are 
friends here." 

"They are friends too," says the guy 
with the Chicago Bulls hat. 

"Yes, they are." agrees the Negro who 
hadspentthe night wavinghis ass in theair. 
Manfrini, reaches over and hugs the guy. 
The guy hugs me. Soon we're all hugging 
each other. The girls get hugged a bit harder 
and tighter than the boys. 

The owner looks around, smiles, 
shrugs his shoulders and shakes hands with 
us. Then the music starts again. The crowd 
cheers. The first fallen fighter smiles and 
gives us the thumbs up sign. We're heroes. 

"They all know you're from New York 
now," says Nanda. 

Sureenough. They all come over. Want 
to shake my hand. Say hello. Their eyes 
seem fixed on Ramona, though. Maybe 
they're just interested in CBGBs. 

Later that night, I meet up with Le- 
onardo again. 

"You went to a funk?" He says. 

I nod. 

"You know the government is trying 
to get them banned?" He's incredulous. "At 
least once a month someone gets killed in 
those things. They're war zones!" 

'It was fun," I tell him. 


My last night in Rio, Leonardo i 
me into an EMI concert. Some famous Bra- 
zilian band is having a reunion show. 
They're going to record a "live" album, so 
they've invited some people to cheer them 

"Free beer?" I ask. 

He nods. 

I'm now on the bus from Rio south to 
San Jose dos Campos. It's raining. A baby 
sits in her mother's lap a couple of seats 
away from me. Not crying, but laughing 
that horrible high-pitched baby laughter. 
I'd easily pay $10 extra to ride a kid-free bus 
or twice that for a kid-free planeride. Mar- 
keters take note. 

I'm going to visit Korn. I'll finally get 
to find out what it's like to kiss someone 
with a spiked lower lip.... Yeah right. But 
like I said, that's another column. Right 
now, if you'll excuse me, I have to adjust 

ENDNOTES: [Thanks to your protests, sit-ins, 
marches and church burnings, there are no 

longer length restriction* at MRR. All power to 
the people! Yeah! Still, visitors to my website: 
index.html, or subscribers (email to: will receive a few ex- 
tra endnotes.] 

— >It's tough being right dept: You remember 
last month when f wrote about the evil 
chemicals in "mental illness" and how their 
effectiveness has been so overrated because 
even placebos are effective. 

The October 30 issue of Science Neivs 
tells more. It appears that 75 percent of 
depressed patients taking placebos show 
"clinical improvement." 

Even better: When the placebos are 
drugs intended for other conditions (like 
antihistamines for allergies), but the side 
effects are similar to anti-depression drugs 
(likesleepiness), their effectiveness becomes 
even stronger. In other words, if you con- 
vince the patient that the drug is doing 
SOMETHING, the patient's depression goes 

Now, tell me THAT'S like diabetes! 
— > Korn's homopunk webpage is at: http:/ 
/ It's most- 
ly in Portuguese but there is an explanation 
in English and plenty of links. You can also 
email him at: He's 
anxious to make contact with homopunks 
around the world. And yeah, he speaks 
English... better than me. 
— >Every once-in-awhile someone forwards 
me some information about "The Darwin 
Awards".The idea of these awards is that 
stupidity reaps its own compensation, 
knocking off the stupid one and making the 
earth just that much smarter. 

One of my favorites is one where the 
guy doesn't die, but still gets what was 
coming to him. Here's the story: 

American Ronald Demuth took some 
Russian friends to a zoo in Vermont. Anx- 
ious to impress the Ruskies, he spread some 
crazy glue on his hands. Then, as a joke, 
rested those hands on the tough rear of a 
passing rhino. The animal, used to being 
petted, thought nothing of it, until it real- 
ized this guy was not gonna let go. 

Then it started to panic, and run 
around wildly trying to loose the guy. What 
was worse, said zoo officials, the animal 
had been very constipated lately and was 
given a laxative to help ease the problem. 

During the ensuing melee, the tag team 
knocked down fences, killed several small- 
er animals, and let others escape. 

Here's the quote, as I received it, from 
the Darwin people, it took a team of medics 
and zoo caretakers to remove his hands from her 
buttocks. First,the animal had to be captured 
and calmed doivn. However, during this process 
the laxatives began to take hold and Mr. De- 
muth zvas repeatedly showered with over 30 

gallons of rhino diarrhea. 
"It a 

! zvas tricky. We had to calm her down, 
while at the same time shield our faces from 
being pelted with rhino dung. I guess you could 
say that Mr. Demuth was into it up to his neck. 

Once she ivas under control, we had three people 
with shovels-working to keep an air passage open 
for Mr. Demuth. Wewcreable to tranauuize bel- 
aud apply a solvent to remove his hanasfrom her 
rear, ' said Douglass. "! don't think he'll be 
playing with Crazy Glueforazvhile." 

Meamvhile, 'the Russians, while obvious- 
ly amused, also were impressed with the power 
of the adhesive. "I'm going to buy some for my 
children, but of course they can'} take it to the 
zoo," commented Vladimir Zolnikov. 
— >Bounced Mail Dept: I tried to send email 
to the following folks who've written me. 
Your mail bounced. Watsupwidat? ■ 
— >Thanks dept: Wow! There's too many 
and I'm only starting my second week here! 
I'm sure I'll forget people. If it's you, let me 
know and I'll thank you next month, as well 
as perform oral sex on you next time we 

In Rio there's Leonardo, Manfrini, 
Ramona, Kinjin, Nanda (Goddess), the guy 
who gave me my Yah-Man-Jah, In San Jose 
dos Campos, there's Erico (aka Korn) and 
his roommate whose name I forget. In Sao 
Paolo, there's Eduardo, Gordo (not the one 
from Ratos, who I didn't get to meet), Hen- 
rike, THE BLIND PIGS, Paolo, Carlos, Mar- 
ia, and Patricia aka Laiza who you'll read 
about next month. 

FROGS. Plus all the bands who gave me 
CDs and cassettes. I'll have a full listing as 
soon as I can get through them all! 

In Curitibo, there's Rodriguez, his 
brother, and Julio. Who also deserve my 
apologies for skipping out on them. It's a 
long and evil story about a Youth Hostel 
more hostile than hostel. 

More next month. 
— >Second thoughts dept: One of the many 
great things about travelling is that it chal- 
lenges things you believe and makes you 
stand on your head to look at the world. 

Two examples: 

1. Vinyl is cool. CDs are not. A really 
cool band releases ONLY vinyl... Wrong. 

In many countries, including Brazil, 

?eople don't have access to record players, 
hey're either too expensive or just not 
available. For a Brazilian band to release 
only vinyl is pure snobbishness. Foreign 
bands who don't give a shit about other 
countries can do so. But if you do, it is as 
nationalistic and Western-centered as any 
patriotic skinhead band. Vinyl is national- 

2. Bands who sing in their own lan- 
guage are cool. Bands who sing in English 
are sellouts, trying to imitate Americans... 

Junior from the WHITE FROGS told 
me his band was offered a three record deal 
from EMI. Big advance, studio time paid 
for. Everything, all they had to do was' sing 
in Portuguese." 

"Nobody will sign a band who sings 
in English," he says. "The radio won't play 

you. The stores won't stock your records. 
It's hard,. .But we play American style music. 
We don't play samba. If the notes are En- 

flish (American), then the language should 
e English. We won't change for money or 

Put that in your PC pipe and inhale it! 
Oh yeah, ask me next month about MTV! 

Joe Strummer this and Joe Strummer 
that. Did I miss something? Did that moth- 
erfucker finally apologize for "Sandanis- 

The members of NEIL PERRY have 
been paying wonderful attention to all that 
has transpired in the emo, hardcore, and 
brutal art schools of the 90's. Bursts of pow- 
er continually roll off of each song with 
vocals at the mountaintop of screamo. The 
sound opens up at times with a fucked, 
fuzzed, and distorto anthemic Canadian 
style. All the knobs are turned on familiar 
sounds making something just fresh 
enough. Don't look, I'm humping this 
record. ($3.50: Spiritfall, 215 Hancock Ave., 
Bridgewater, NJ 08807) 

Also available for 350e from Spiritfall 
is a BORN UNDER SATURN EP. Flip flop 
in the vocal style from all out harsh screams 
to the spoken style of parts of the SWIZ EP 
on Jade Tree. Frantic, but not spastic, hard- 
core with the slightest hint of metal licks in 
the guitar. None of the typical slow to fast, 
soft to loud, just a couple of super abrupt, 
on a dime switchovers from crazy intensity 
to a somewhat hollow (in a good way) 
interlude with the before mentioned spo- 
ken vocals. This is the sentence I mention 
the political punch in their lyrics. 

Ron, the kingpin at Gold Tooth 
(PO Box 621, New Paltz. NY 12561) sug- 
gested that 1 note the lackluster layout that 
I, ROBOT went for on their EP. Shit, com- 
pare this to the visual disasters of nearly 
every SCREECHING WEASEL LP, and the 
plainness of this EP is rathernice. Sad sound- 
ing tunes within. Not quite sparse guitar, 
moving slowly and ever so disiointedly 
forward. And it does get somewnere. Vo- 
cals almost follow along the smooth and 
nearly hidden bass, and at times shout di- 
rectly into the faster moving stuff. I, RO- 
BOT could be in the stack of records next to 
your record player with CHINO HORDE, 
the next band being reviewed. P.S. 
Gold Tooth is putting together an interna- 

tional hardcore comp, 

12 HOUR TURN makes me happy in 
much the same way YAP! IET KOTTO do. 
Classic emo sound without being an emo 
version of a Bruce Springsteen cover band 
in New Jersey. Rather then just mimic the 
songs of bands like CURRENT and 
CHINO HORDE they obviously spend a 
great deal of TIME to come up with songs of 
a style/sound they LOVE. Not too predict- 
able back and forth from mid to quick tem- 
po, pained sounding vocals without sound- 
ing melodramatic, and great collision be- 
tween rhythm and cacophony. Records like 
this give me hope that the Midwest indie 
rock sound has finally finished using emo 
as their stepping stone to 
Myself" LP or CD $7 from No Idea (PO Box 
14636, Gainesville, FL 32604) 

my hand I thought. CLOCKS, sounds math 
rock to me. I was puzzled and didn't now 
what to think about the Calvin Klein Lolita 
on the record sleeve. CLOCKS are not tw- 
erpy math rock. There is no mention of 
where they are from, but my money is on 
jolly ol' England. I could totally imagine 
this band playing with RED MONKEY or 
being on the Slampt! label. Not quite as art 
damaged as that might lead you to think; 
this is quite smooth with uumph (think 

3'uality sipping whiskey). Fun sounding 
rums and an almost hypnotic repetitive- 
ness in the hooks of the guitar. A less dra- 
matic FABRIC? A sleepy HUGGY BEAR? 
Post-Riot Grrri? (Trackstar, PO Box 60, 
Forked River, NJ 08731) 

I'm not too sure if Dofprint #32 with 
HARRIET THE SPY EP is still available. 
Perhaps a visit to or a 
postcard to PO Box 2120, Teaneck NJ 07666 
could get an answer for you. Get to it, the 
1 1 A RRIET THE SPY banter at the the More 
Than Music love-in is a nice thumbed nose 
and stuck out tongue. The recording cap- 
tures all of their neurotic emo herk, jerk, 
and croon. Word has it they broke up. I 
applaud that, no shitty "Soufforce Revolu- 
tion" or "How We Rock" style recordings to 
clog the used bins, only highly listenable 
recordings left behind. Lenny of Dovprint 
suggests that PARTY OF HELICOPTERS is 
a glam band. Well, they have a bit of pouty 
theatrics in the mix, so why not? New mar- 
keting term alert: Emo-Glam (glamo??). 

Quite a few new items from Spectra 
Sonic Sound snuck across the Canadian 
border to my PO Box. The KEPLER EP 
nearly had me hacking my wrists open. 
Imagine being in a completely dark room 
with downy feathers being sprinkled on 
you. That is the metaphor for the amazingly 
soft and sparse ambience of KEPLER. Three 
members, but one would hardly know it. 
The somewhat louder stuff at theend of one 
of the two songs seemed hideously out of 
place. Only for tans of the similarly soft 

strangeness Louisville and Chicago rou- 
tinely offers (PALACE, SL1NT, etc.) 

SEPPUKU, with a CD on Spectra Son- 
ic Sound is not the hardcore SEPPUKU 
with the recent EP. SEPPUKU is emo jazz in 
a way that HOOVER only scratched at with 
their annoying sound. There is a lot of the- 
ory at work here, instruments are used in 
far from any way most are used to, and 
strange experiments in conducting musi- 
cians occur. Maybe this is an ideal record 
for musicians who are scholars of music 
theory. Sort of reminded me of those 60's 
Tom & Jerry cartoons with the free-jazz 

The only one of the new releases on 
Spectra Sonic Sound that comes close to 
having that "sound that surrounds" is the 
THREE PENNY OPERA "Countless Trips 
From Here To There" CD. This band was 
really flat and BORING to watch at the Che 
Fest'this summer. They should have just 
played this CD instead. Tight sound with 
much dynamics. Crisp guitars and the de- 
termined steering of bass and drums. Can 
you picture CIRCUS LUPUS with a direct 
focus or 400 YEARS with the mania turned 
down. Ordering info: KEPLER=$4, 

PUKU =$8,SpectraSonicSound=Box 80067, 
Ottawa, ON, K1S 5N6, CANADA. 

TRANSITIONAL's "The People Vs. 
Transitional" CD is the most recent addi- 
tion to the ranks of the new romance, ladies 
and germs. Fitting that TRANSITIONAL's 
label is distributed by Bottlenekk, which is 
becoming the cartel for this tweaked out 
new-old-new-wave. Synthesizerand female 
vocals tweaked out in tremendous ways 
while a rat-a-tat drum and post-punk gui- 
tar fiddle around. A TRANSITIONAL/ 
SLAVES split LP could be the BLATZ/ 
FILTH split of the new romance. (Sound 
On Sound, PO Box 11794, Berkeley, CA 

Florida has spat forth its most recent 
bit of strangeness. GREETINGS FROM 
JOON "Static To The Homeland" CD mixes 
up mid-tempo emo-pop and ba-bop-bop- 
bop with a thick as can be resonant fuzz on 
the bass, that the ear just barely picks up. 
Occasional techno-sounding influences. 
(Good Bye Blue Skies, PO Box 306, Tavern- 
ier, FL 33070) 

France's Mosh Bart Industries has sent 
in two records, but no address. I am a bi; 
CAVE-IN fan. They have a weirdness 
really get into. However, their side of the 
split with CHILDREN is an ice cold turd. 
Some techno style remix of the song "Bot- 
tom Feeder." If you buy this record be sure 
to repeatedly scratch this side with a safety 

Bin so that it can never be played. CHIL- 
REN walk that line between metal and 
emo-violence. Hectic, yes. Chugging metal 
licks, yes. Spat vocals, yes. Similar to the 
verse parts of CON VERGE without the slow 
downs and the bizarro sung vocals. 

The Mosh Bart record is a 
CLOUDBURST EP. Which mixes up North- 

eastern US metal-core with strairts of French 
emo such as I VICH and JASMINE. Almost 
a really great mix of crunch and nasally 
vocals over drawn out intermissions of rock- 
ing back and forth on your heels. Just a 
touch too metal. 

Buying Guide: 12 HOUR TURN LP, 


As promised last month, my top ten of 
1999. The guidelines: the records had to 
have been reviewed in the'column in the 
past 12 issues and they had to be records 
that I made an effort to listen to in my free 
time. No small feat! I've included addresses 
but keep in mind that some of these releases 
may no longer be available. It was hard 
enough to go from 15 to 10 choices, so I 
decided that there would be no particular 
order to the listing. 

1. VOLUME 11 "Prole Art Threat" LP (Hand 
Held Heart, 24445 Lisa Kelton Place, Ne- 
whall,CA 91321) 

2. SWITCHBLADE 10" (Trust No One, Hel- 
galunden 5, 118 58 Stockholm, SWEDEN) 

3. ISIS "Mosquito Control" 12" (Escape 
Artist, PO Box 363, Westchester, PA 19381- 

Jidai, 5707 De Lange, Houston, TX 77092) 

5. YAPHET KOTTO "The Killer..." LP (Eb- 
ullition, PO Box 680, Goleta, CA 93116) 

Calavera Discos, Box 385, SE 901 08 Umea, 

mark, PO Box 251565, Little Rock, AR 72225) 

8. SLAVES LP (Troubleman, 16 Willow 
Street, Bayonne, NJ 07002) 

9. WAXWING "For Madmen.." LP (Second 
Nature, PO Box 11543, Kansas City, MO 

10. RED SCARE "Capilary..." (Hand Held 
Heart, 24445 Lisa Kelton' Place, Newhall, 
C A 91321) 

I have two honorable mentions the 
f i rst being the HATED "Unreleased Songs" 
boot LP left off the list due to availability 
issues and the LOCUST belt buckle (Three 
One G, PO Box 1 78262, San Diego, C A 921 77) 
because it is for wearing and smacking 
someone upside the head, not listening to. 

All records, zines, CDs, news", and 
diet fads to PO Box 170482, San Francisco, 
C A 94117. 

A huge amount of this months Rhine- 
stone T article is from a letter that I sent to a 

friend about the work that I do in South- 
west Florida. 1 internally despise living in 
Florida, but have stuck it out tor the last 18 
months. I am leaving in March or April 
though and will miss the work that I do 
here. This article is about the work that 1 do. 
I love it and everyday I learn something 
new and have so much passion for this. 
What I do is wildlife research, but more 
specifically I work to study Florida's man- 
atee population. I work at a non-profit ma- 
rine laboratory and we get the majority of 
our funding through the state. Actually my 
paycheck comes from the sales of manatee 
license plates. Weird. Not that 1 make very 
much money. In fact I make less than the 
starting wage at the local Taco Bell, but 
that's beside the point. My first job is man- 
aging a database that allows you to pull up 
jpg.s of animals' photographs and all of the 
other info. My second |ob is to go out and 
photograph them. We choose sites deter- 
mined by aerial survey data (that is my 
boss' job) and then we take the boat and a 
crew out and photograph the manatee's 
scar patterns. It's <i paradox of course that 
through the boat strikes and scars we are 
able to discern individual animals by the 
patterns created on their backs and tails. 
The fieldwork is incredible. 

Well, when people say manatees are 
big dumb things 1 guess you can reply by 
educating them. Manatees are the 'oldest' 
marine mammal - 65 million years - and an 
extensive fossil record can be found 
throughout the earth, and in the offshore 
waters of Florida. There are three species of 
extant manatees and one species of extant 
dugong. There was a dugong that resided 
on the west coast of north America but it 
was hunted to extinction by the late 1700's. 
The West Indian manatee, "which is the one 
that I study, whose range is from Florida to 
Brazil. The West African manatee, and the 
Amazonian manatee. The Dugong range is 
in the tropical waters of the indio-pacific 
and parts of east Africa. The Florida mana- 
tee is a sub-species of the West Indian man- 
atee and is found throughout Florida's 
brackish shallow waters. 

Two thirds of their mortality (Florida 
manatees) is human-related, one third of 
that being boat-related. All of the manatees 
and dugong of the world are endangered. 
Many people that are uneducated on the 
issue will say they are naturally on their 
way out, but'with two thirds of their mor- 
tality being human-related (Florida mana- 
tee) and in many places in the world still 
hunted you see they speak in ignorance. 

In fact, this year s watercraft related 
mortality statistics show that this is a record 
year across the board and that there has 
never been more deaths recorded of mana- 
tee's in one year (caused by watercraft!!!)!!! 

Manateesareslow, herbivorous, mam- 
mals that feed mainly on sea grasses and 
water hyacinth. They live in shallow brack- 
ish waters and require fresh water for prop- 
er osmoregulation. Based on whether they 

are covered in algae or barnacles we can 
determine if they ve been at sea or in the 
rivers or springs. A huge percentage (about 
80-90%) of the animals are scarred in Flori- 
da from boats or entanglement. Most ani- 
mals have specific scar patterns which en- 
ables us to distinguish between individu- 
als. We go out in the field on a boat with a 
propeller guard and photograph theirscars. 
We use a small electronic trolling motor 
when we get near them as to not disturb 
them and photograph them as they surface 
to breath. They are not harmed in any way. 
We sort the slides and try to match individ- 
uals. There are over 500 known animals on 
the west coast of Florida. About 150 in 
Sarasota bay, and about 150 in Charlotte 
Harbor. These are the animals that we cat- 
alogue and study. By determining specific 
animals we are able to gather life history 
data, sex, behavior, age, lineages, move- 
ment or migration patterns, usage of specif- 
ic causeways and counts. This information 
is vital to management issues and to the 
survival of this species. We also do aerial 
surveys and keep accurate year round 
counts of the animals which goes on a GIS 
program. The last synoptic (everyone and 
their mother flies the entire Florida coast- 
line on the same day) survey was done in 
early March of last year and indicated about 
2,450 animals. That isn't the exact number 
because I don't remember and I am too lazy 
to look it up, but it is very close. 

My job in the office is to manage an 
electronic database that we can query for 
specific features and pull up photographs 
on the screen of animals that have those 
features (like all the animals that have a 
large left tail mutilation), this enables us to 
make matches, and keep sighting records. 

Well, I could seriously go on all day, 
but ask questions of w ha t I've written so far 
and I'll continue. They are truly amazing 
creatures and a little slow it's true. Not the 
sharpest knife in the block, but an incredi- 
ble contributor to biodiversity. Any ques- 
tions contact <> 
I send you sparkles, *tami 

Mv life has taken a big turn for the 
worse. In addition to everything I've got 
goingon inmy life, I somehow decided that 
a second full-time job was a good idea. It 
wasn't. Well, actually, it was almost neces- 
sary considering how poor I've become 
Funny thing is, now that I'm working about 
80 hours/week and putting in a lot of extra 
hours for the city (budget season kind of 
requires that) — meaning that I don't even 

really have much time to spend money — 
I'm still broke. Go figure. Anyhow, nothing 
has been working out right. Insight (our 
local infoshop) looks like it's about to go 
down the tubes, though Iprobably shouldn't 
be speaking for it since Ihaven't even been 
there in over a month. The city is going 
broke, which meant lots of budget cuts this 
year, including funds for a bunch of bike 
trails I worked pretty hard at getting ap- 
proved. I have a vehicle that's been in the 
shop since sometime back in May, costing 
me more than what I paid for the piece o' 
junk. And finally, the band hasn't even 
practiced since June (though that situation 
should soon be rectified). In addition to all 
of that, I've been spending my days getting 
up at 7AM and usually not returning home 
again until 1 or 2AM. Yuk! 

The purpose of this is not to sit and 
gripe about my problems. I'm always hap- 
py; no matter what I'm doing. My whole 
world could fall apart and I'd still find a 
reason to smile. There are billions of people 
on this planet that literally have to struggle 
through their days and the shit they have to 
deal with makes my puny problems seem 
like blessings. However, that doesn't stop 
me from whining every now and then. 
Anyhow, I've begun to understand of late 
what it is that's truly bringing me down. It's 
all about loneliness. So I figure its high time 
I wrote a bit about relationships. 

When I'm speaking of relationships, 
I'm not just talking solely about the boy- 
friend/girlfriend, girlfriend /girlfriend or 
boyfriend/boyfriend (or as a local farm- 
hand recently reminded us: farmhand/ 
goat) relationships, I'm also talking about 
friendships and alliances. Many of my clos- 
est friends have either recently moved or 
pets path, which means that I see them 
about as often as I see the relocated bunch 
(and sometimes less). Most of the people 
I'm currently close to, I only see enough or to 
say hello and drink a few brews. No one 
seems to have the willingness to discuss 
anything of relative meaning anymore and 
there's really no one to blame for this. How 
would that work anyway? "Hey Nathan! I 
haven't seen you in a while. Sit down and 
we'll talk foreign policy, followed by a deep 
discussion of our personal well-being." I 
think not. Besides, most of close friendsaren't 
even interested in the things that I do any- 
way. None of my friends read this column 
anymore (or never did). No one I know has 
ever gone to a City Council meeting to see that's all about (not even my parents, 
who live a whole three blocks from city hall). 
Nobody kept any sort of interest in the vi- 
sion of Insight, which is truly depressing 
because it started with such high hopes and 
so much potential to be awesome. So nearly 
everything I'm doing, I'm doing by myself, 
with little or no interest from anyone I love. 

My past relationships (all two of them) 
have been disasters. Soon after high school 
(which wasn't THAT long ago, all things 

considered), I began dating a girl I had grown 
very close to over the course of a two-year, 
long distance friendship. We ended up liv- 
ing together and, though we had a lot of 
good times, it was ultimately an emotional 
wreck. She ended being a materialistic hy- 
pochondriac which, if you read my columns 
with any sort of regularity, you know is 
about as close to my polar opposite as you 
can get. (And that reminds me. . . One of my 
most vivid memories of this time period was 
a Thanksgiving dinner at her parents when 
her and her entire family were on Prozac. 
Boy, what a meal!) It eventually ended, but 
instead of ending suddenly, it dragged our 
for about a year, which only made things 
worse. [Interesting sidenote: After having a 
few thousand miles between us for the past 
few years, I just last week helped her move 
into a new apartment about two blocks from 
my own. We are actually pretty good friends 
now and are both well aware that our "boy- 
friend/girlfriend" (god, I hate those terms) 
relationship was conceived in hel ! and that i t 
should never be re-attempted.] My other 
relationship was quick and painful. In just 
under the course of a year, we managed to 
destroy not only our own good relationship, 
but also about three others. Again though, 
we remain good friends (though not ex- 
tremely close) and there's been no long-term 
damage done. 

Thinking about all of the happenings 
during these two relationships, I've begun 
to understand that I'm a non-monogamous 
person. By that, I don't just mean sexually 
non-monogamous. I haven't even had sex in 
almost a vear now anyhow, and there doesn't 
seem to be any change in that pattern in the 
foreseeable future (perhaps that's the root of 
my troubles. . .ha ha), so what I mean by non- 
monogamy is developing relationships 
based on love, trust, (com)passion, and re- 
spect (and hot, sweaty sex) with more than 
one person. I think it's important to develop 
these types of relationships while simulta- 
neously throwing a stick of dynamite at 
traditional sex and gender roles. I mentioned 
before that I hate the terms 'boyfriend' and 
'girlfriend' (and chalk up the phrase 'signif- 
icant other' while you're at it). It's kind of 
bizarre that I feel this way, especially consid- 
ering that my very last column dealt with 
accepting labels instead of rejecting them. 
However, in the case of relationships, which 
traditional mainstream thinking has almost 
successfully reduced into ownership con- 
tracts, I feel that it's important to either get 
rid of these labels and the stigmas they seem 
to emit or change their very meaning. In the 
second relationship I spoke of above, we 
decided not to consider ourselves 'boyfriend' 
and 'girlfriend' for the very reasons 1 just 
mentioned. All of my friends still called her 
my girlfriend, which got us discussing these 
gender roles. They claimed that since we 
lived together, spent a lot of time together, 
had strong emotional ties and plenty of sex, 
that we were the epitome of boyfriend and 
girlfriend. My take was that since we had 

made a conscience effort not to let our rela- 
tionship be limited by traditional gender 
roles and our own petty insecurities (such as 
"oh no. . .she had sex with someone else and 
isn't going to be there for me anymore"), we 
were the exact opposite of boyfriend and 
girlfriend. My belief was/is that by referring 
to ourselves in those terms, we were giving 
the impression that we were committed only 
to each other and well, "taken". That's not 
how we wanted to be viewed. (As it turns 
out, we weren't on the same page anyhow. A 
lack of serious discussion about this subject 
and a general difference inpersonalitiesend- 
edupbeing our downfall, but that argument 
remains the same.) I see no reason why you 
can't love or fuck or care about more than 
one person and in order to make those rela- 
tionships possible (and beyond that, healthy), 
we have got to stop using language that 
insinuates otherwise. Furthermore, we've 
got to start talking about it more. The press 
obviously isn't going to do it for us. Main- 
stream culture, while excessively dictating 
that the appropriate relationship is male/ 
female (and racially homogenous I might 
add), isn't going to be gung-ho about this. It 
makes for a big pain in the ass for most major 
religions, advertisers, and policy makers. 

It seems dumb to have to point out that 
in this country where the citizens have spent 
a significant portion of the past year crack- 
ing cigar jokes, that there is plenty of sex in 
the headlines. Mediaand its advertisers have 
basically stacked the bill full of sex. But what 
kind of sex? Basically, it's nothing butsexual 
imagery. There's sexual imagery every- 
where. It's on the sitcoms, on the magazine 
covers, in the movies and on the Top 40. 
There's the beautiful, busty models and ac- 
tresses that are used to sell beer (and desires 
of rape) to the boys and make-up to the girls 
(not to mention negative body image and 
eating disorders, both of which are major 
problems for many of the girls I know — 
including the two that I've dated). But 
where's the discussion about sex? The way 1 
see it, the only forms of actual discussion 
about sex that I see are either in the awful 
mainstream magazines like Vogue and Max- 
im (which recently ran an article showcasing 
how you can make your penis 'appear' larg- 
er than it really is, for when you go to the 
clubs to "pick up chicks") or major stories 
about the newfound rrearmentsand preven- 
tions of STD's (which, though very impor- 
tant and useful, don't do much in the way of 
helping people build relationships, sexual 
or otherwise, with fellow humans). There's 
also the countless movies and TV shows that 
utilize a ton of sexual lip service (bad choice 
of words?), but mostly only to keep us glued 
to the screens or as a wav to make cheesy 
jokes (wait a minute — didn't I just do that?) 
For the most part, if you want to see some 
articles that critically discuss ways to devel- 
op healthy sexual and emotional relation- 
snips, you're going to have to read the words 
"husband" and "wife" a lot. 

So, with this as the mainstream view of 

i he sexual world, how am I supposed to find 
anyone to relate to in an emotional, spiritual, 
AND sexual manner, much less a number of 
people? I guess that's where the major prob- 
lem lies. I must admit however that my own 
set of ideals and beliefs often gets in the way 
as well. I can't tell you how many times I've 
seen a girl that will spark my interest insome 
form or another [though it's typically in a 
visual manner. Honestly, I really don'tlcnow 
wha t to say about that. The first thing I notice 
about people is how they look and although 
I can't say that it's the most important thing 
in the world, I also can't say it s completely 
irrelevant. leasfas far as sexual attrac- 
tion goes. At the very least, I can admit that 
what I perceive as physical beauty is quite 
different than what, as a young white male, 
I'm told is beautiful. And yes, lean easily be 
turned on by the way someone thinks. And 
while I'm in a big set of parentheses, let me 
make something else clear. As a (mostly) 
heterosexual male, the experiences I'm draw- 
ing from are in that vein. I am, in no way, 
trying to suggest that opposite sex relations 
are any more 'normal' or healthy than those 
of the same sex variety. It's just that that's 
what I'm most familiar with. That probably 
should have been obvious from the above, 
but just in case...], only to lose that interest 
when I see that she's wearing a Nike T-shirt 
or something like that. Part of me says that 
this is the sort of person I should be trying to 
create some bonds with, and perhaps turn- 
ing them on to a different way of looking at 
things. A larger part of me says that I defi- 
nitely don't want to get involved with some- 
one that would even consider wearing Nike 
apparel because they're so different from me 
that it could never be THAT fulfilling. An 
even larger part of me says, "Thank god I 
found something 'wrong' with her... other- 
wise I would have had to talk to her and 
stuff." Yeah, I'm a bit shy around strangers 
I guess. Sometimes it's truly difficult to tell if 
I'm turned off by someone for stupid little 
reasons like the Nike thing, or if it's some- 
thing deeper-rooted than that. 

Having never truly been involved with 
non-monogamy, I can only imagine that it's 
a difficult process. I know plenty of people 
that are very involved in non-monogamous 
relationships (who coincidentally live far, 
faraway from myself) and I know that it's no 
constant path of flowers and sunshine. How- 
ever, they do seem to be happier than the 
one-on-one crew, if not solely because they 
have spent more time talking to their part- 
ners about what they want, need, and expect 
from each other. I'm not saying that every- 
one should be in non-monogamous rela- 
tionships. I know plenty of people that are 
quite happy with monogamy (at least for 
now) and plan on staying together for the 
rest of their lives. These are also the same 
people who can find happiness in things like 
marriage and children. I, most definitely, 
cannot. The thought of having a loving wife, 
a kid or two and a nice suburban home 
literally makes me sick to my stomach. Of 

course, the thought of spending another 
year's worth of lonely nignts isn't very ap- 

fealing either. Sigh. 
I didn't have a column in the last issue 
because I was too busy to even get in front of 
a computer. The one that you just read is a 
jumbled mess of thoughts that I threw to- 
gether way too quickly, also because I'm 
busy. It appears as if I'll'have to do a follow- 
up just to make an attempt to sort out what 
the hell I was getting at. Someday soon, I 
hope to get off of this roller coaster and relax 
a bit... 

2 You can write to me at PO Box 504, 
Chippewa Falls WI 54729. I'd like to promise 
that you'll get a response, but it's becoming 
increasingly difficult to write anyone back. 
I'll try, how's that? 

3 Kudos to anyone that was at the WTO 
protest. . .wish I could' ve been. It was cool to 
see pictures of punks on the front pages of all 
the papers. It was not cool to see tear gas 
canisters being fired at their heads... 

workin for the weekend (the song and the 
actual act of workin for the weekend) ani- 
mals dressed up as people, Fraggle Rock, 
Tim Duffy, Simon Chung, boobs, vodka 
and Red Bull, Sinbad, TGIFriday's, the Mike 
Joyce dance, when a short guy slow dances 
with a tall girl with big boobs, Manowar, 
cilantro, when office ladies go out for drinks, 
the word "titties", Gary Busey, Jake Busey, 
when old people have names like 'Peabot- 
tom', Nick Nolte, World Fairs, early at- 
tempts at flying with goofy machines, rub- 
ber dog shit, chicks, guns, firetrucks, hook- 
ers, drugs, booze, when Al Pacino yells, 
Alba, The Sandwich Club, busting out of 
jail, natural disasters, fireworks, tripledeck- 
ersandwiches, prosciutto, Halloween, when 
confused animals hump funny things, xy- 
lophones, jet packs, breakfast burritos, time 
machines, mesh hats, testicle festivals, the 
movie Tommy Trickerand the Stamp Traveler, 
pirates, when monkeys turn bad and attack 
the handicapped people they were trained 
to help, duckpin bowling, getting a horse 
drunk, old timey bicycles, being invisible, 
cabooses, train conductors, animals driv- 
ing cars, old guys who pan for gold, the part 
in the movie Cocoon when the old people go 
out and act young, morbidly obese chil- 
dren, riding in trains, ferocious BJs, riding 
on top of trains, business tycoons, elephants, 
surly dwarves, White Russians, old wise 
Black janitors who hang out in the boiler 
rooms of buildings, who you can go to for 
adviceabout sex, marching bands, hats with 
pony tails attached to the back, drinking 
schnapps in a movie theater, getting dogs to 

do things for you, step dancers, when old 
people suddenly turn young and their 
clotnes are too big for them, Dee Dee King, 
GIANT hoagies, food courts, Oasis, Clift- 
on's Cafeteria, Rusty in European Vacation, 
my girlfriend noisily eating soup, when 
guys get kicked in the nuts, that Black guy 
in the Police Academy movies who makes all 
the funny noises, stubborn donkeys, mari- 
achi bands, when people's pants fall down 
and they're wearing polka-dotted under- 

Eants, buffets, dancing around and eating a 
oagie, Freaknik, Rodney Dangerfield's rap 
album, 'boi-oi-oi-oing' noises, explosions, 

getting a pie in the face /crotch /ass, Chris 
lliot, winning things, Stokley, The Draw- 
ing Room, Ye Rustic Inn, banditos, mum- 
mies, doing the Twist while eating cake, Jar 
Jar Binks, when old people disappear for a 
few days, then come home, drifters, going 
on safari, back when they made little kids 
work in factories, Mia mi booty bass, when 
boring parties are saved by Boner and his 
wonder joints, big brassy ragtime music 
that plays when you sit down on a toilet, 
ghosts, casual sex arrangements (like Pacey 
and Jen on Dazvsons Creek, Nicknames like 
"Stinky" and "Boner", Tom Hopkins' ear 
horn, Glendale, having big balls, naked 
Todd Saunders, Christmas sweaters and 
turtlenecks, Partynogg, the time my dad 
was in a shoe store andhe tried on a pair of 
tennis shoes and ran back and forth across 
the store making screeching noises, R&B, 
Robotech, me, The TV show The Iron Chef, 
doughnuts, Japanese stationary, burritos, 
one bourbon one scotch and one beer, party 
trains, Christmas in July, poisonous snakes, 
daredevils, wearing monocles, conquering 
nature, evil ventriloquist dummies, Batman, 
Russian rock bands, Monster party songs, 

6uys who have bodies and clothes like 
'onald Duck, Postcards from Uncle Trav- 
eling Matt, half man/half sharks, Gnome 
butts, when people catch fire and they start 
running arouna and people start chasing 
them to put them out, anything in fast mo- 
tion set to the Benny Hill theme song, side- 
bottom, when daredevils do things that 
don't work, when little kids shit/burp/ 
throw up/pee/snot at innapropriate mo- 
ments, going to six different video stores 
looking for Fraggle Rock videos, diving into 
things that are carefully set up, when ani- 
mals pee on their trainers, jumping off of 
things, when little kids get bored and just sit 
or lay down and the parents drag them 
around trying to get them to stand up but 
the kids just go limp, when Brett goes to the 

Eool and stands on the diving board with a 
oner and all the girls laugh at him, FRI- 

SOME: Mondays! Guesstimating, walking 
around town with your pet lizard on your 
shoulder, the French, Australian accents, 
French-Canadians, Mike popping a boner, 
outtiebellybuttons, quitters, rock stars who 
don't use drugs, being old, Jim Carrey, Rap 
Metal, the cast of MTV's The Real World 

(especially Amaya), actors, diets, when 
bands give speeches in between songs^peo- 
ple who perform magic tricks, how Daw- 
son has turned into a total emo pussy, ex- 
perimental side project bands, shock jock 
dj's, Evil Tim Duffy, having someone teach 
you the true meaning of a holiday, revolu- 

Oh and one last unrelated thing, here's 
a quote from an article about the producer 
of When Animals Attack, who is also a veter- 
an tabloid TV producer who just wrote a 
book about the ascendancy of tabloid TV in 
America: "A lot of it is in the packaging — 
like that film of a donkey sexually assault- 
ing a man whom the beast had found defe- 
cating in his pasture." Fox has always want- 
ed to air it but never could," Kearns claims. 
"Every time someone presented it to them 
they would put on ragtime music and sound 
effects — ' Boing! ' I saw i t and was horrified . 
This makes Oz look like Touched By An 
Angel. It was horrific. So I played it very 
straightand putsome scary music behind it 
— 'This man is invading the territory of an 
animal...'" Why was someone filming this 
guy shitting in a pasture? That's my col- 
umn! I'd like to give a shout out to the 
Sandwich Club and to my new hamsters 
Max and Peanut Butter! I m also in a new 
band called The Count. It's me and a couple 
of pussy guys with funny haircuts. Go see 
us. Send me something! John S Ringhoff 
4446 Finley Ave #201 Los Angeles, C A 90027 

After quite a bit of deliberation, I've 
decided to continue to write forMRR. May- 
be you noticed my absence in issue 200 — 
it's not because I didn't send a column in, 
but because thepowers that be decided not 
to run it. I spent hours trying to hash out my 
ideas and find the right words for one of the 
most difficult topics I'veever tried to tackle. 
And at the end of the day (yeah, it took me 
all day), after feeling like I successfully 
managed to spell out my opinion in a way 
that anyone besides myself might under- 
stand, I wasn't so sure I agreed with myself. 
Maybe it's just as well that the column 
didn't see print, because I've had extra time 
to think about it, and some amazing experi- 
ences to influence it. 

In issue #200, columnists were given 
the once-in-a-lifetime opportunity to write 
about the other columnists, which has long 
been forbidden in MRR. My column was .> 
response to an article by another contribu- 
tor, so it was disqualified - and I was pissed. 
I considered doing what others have done: 

quit, and go whine to Hit List about the evils 
of MRR. Brett was cool enough to offer to 

Erint the column (without even reading it), 
ut I'm not so sure I fit into that mag. I'm 
trying to decide how I feel about it — it's 
definitely the best-looking punk rag in ex- 
istence, and the music covered is very in 
line with my tastes. It's also full of some 
really good writing, even if at times a bit 
conservative. Most of all, I don't feel like 
I'm old enough, at twenty-five years, to be 
taken seriously by the staff of aging punk 
wise men. I'm glad they're doing what they 
do, but they probably wouldn t want me. 
(What's really funny to think about is how 
much it takes these days to be considered a 
veteran of the punk scene. It's now been 
nearly twelve years since I went to my first 
punk show. That means I've been involved 
in the scene for the same amount of time as 
all of MRR's columnists in the late 80s, 
when punk rock was barely ten years old. I 
makes me wonder what punk rags will be 
like in 2020 - will the only punk rants to be 
taken seriously be the ones from 65 year- 
old retirees? I guess I'll never know, since 
the message I get from the HIT LIST fogeys 
is that since I wasn't there at the beginning, 
in 1977, I'll never get it.) 

My rejected column was about free 
enterprise. It's a difficult subject to tackle, 
especially when punks, who are pro- 
grammed to believe that capitalism is auto- 
matically evil, are the audience. I believe a 
distinction needs to be made between free 
enterprise and modern-day capitalism. Be- 
cause there is a distinction. If there wasn't, 
then the little grocery store on the corner of 
Valencia and 1 6th is just as evil as Marlboro, 
Nike, and General Electric. Make the dis- 
tinction yourself: is joe's Homebrew as evil 
as Budweiser? Is Juanita's Burrito Shop as 
evil as Taco Bell? Maybe free enterprise is 
the wrong phrase to latch onto, because it 
can remind one of large corporations who 
want to undermine laws which were creat- 
ed to protect the environment and human 
rights (see below: WTO). But rather than 
trying to come up with new lingo, I prefer 
re-defining the phrase, so that it is synony- 
mous with independent "mom & pop" busi- 

I often lookbackat the real meaningof 
words - in today's media-blitz society, with 
companies and government vying for con- 
trol of public sentiment, it's more and more 
necessary. (If they can twist the meaning of 
a word in their favor, it's a public relations 
/ advertising victory.) The dictionary de- 
fines free as ' exempt from subjection to the 
will of others," and enterprise as "a pur- 
poseful or industrious undertaking." It says 
nothing here about merger-monopolies - 
it's about the freedom to make and sell 
things that people need, or (as is more often 
the case in today's consumerist society) 
things that people want. 

Free enterprise defined in this way is 
rampant within the punk scene, just go to 
any show and you'll find people peddling 

records, T-shirts, and zines. Without punk's 
thriving little economy, it wouldn't go very 
far. Sure, people would still be punkin' out 
in their garages, but that music wouldn't be 
heard outside of a 100-mile radius. I think 
we all prefer the tight-knit community we 
have today, which like it or not, happens 
because of free enterprise. Recerit history 
proves that punk communities don't thrive 
under communism. There are some great 
punk bands from China and Russia, but 
their community is years behind that of 
Western Europe, the USA, Australia and 

Free enterprise has been a big part of 
my adult life. It's always made me a bit 
uneasy around the MRR crowd, which 
seems to be made up mostly of anarchists 
and communists. I always wanted to write 
a letter to Tim Yo, who would always bad- 
mouth capitalism in general without giving 
any constructive alternatives - but I never 
got up the nerve. I'm the type that wants to 
fix things that are fucked up. It's clear to me 
that today's capitalism is fucked, and I'm 
not very interested in reading articles say- 
ing so unless they present some reasonable 
alternative that we can work towards to- 
day. Something besides anarchism and com- 
munism, which I just can't align myself 
with (except for small scale intentional com- 
munity projects.) Starting a business has 
given me the cash and the freedom to do a 
lot more than I could have done by working 
for some pizza parlor all my life. 

Let's jump to Seattle, November 30th 

- what might come to be considered the 
beginning of the Mi llennial Global Revolu- 
tion. What can I say that twenty others 
won't about that wonderful day? I'm not 
going to say too much, except that I'm 
thrilled to have been there, to have put my 
body where my mouth is and helped to 
block some of the pawns of the global econ- 
omy from meeting to plan more corporati- 
zation into our lives. I'm amazed and de- 
lighted by the attitude shift I'm witnessing 

- mainsteam people are finally realizing 
that their lives are being controlled more 
and more by multinational corporations 
and global governmental entities, and 
they're doing something about it. There 
were even some US Congressman at a rally 
screaming, "I'll see you in the streets!" It 
was amazing to march through the streets 
alongside 50,000 mainstream environmen- 
talists, cowboy hat steelworkers, black-clad 
anarchist punlcs, clean-cut students, beard- 
ed hippie treehugeers, and activists who 
all agreed with each other on one thing: the 
World Trade Organization had better shape 
up, or ship the fuck out! 

I urge every one of you to educate 
yourself about the WTO, and to speak your 
mind about it to your friends, parents, and 
co-workers.,, (funny one!) are some good 
places to start. Check out for 

their side of the story, although the argu- 
ments against them are tough to refute. / PO Box 204 / Reno, 
NV 89504 / USA 



Yo, yo yo! Just kidding.. .what's up. 
Got some good shit for you all to check out 
this month, so I hope you will put some pen 
to paper and write these bands/labels. But 
before I do, I would like to address some- 
thing that I think is damn comical, but also 
so scary at the same time. I put out this 
comp flexi called Bandana Thrash with a 
bunch of high energy bands (one of which 
I play in called WHAT HAPPENS NEXT?) 
that play '80s sty le thrashcore. Now it seems 
that the term is now some "new" genre in 
the scene. I am to blame, I admit, for 
using a term such as that.... but come on, 
you Know what powerviolence is? Hard- 
core. You know what grindcore was at the 
time of its inception? Hardcore. Now, as 
logic would have, what do you think this 
"'90s revival" is, of bandana thrash? Hard- 
core. There WAS NO BANDANA 
THRASH, EVER! No band was as dumb as 
me to actually say that stupid term back in 

the '80s, so it's an INVENTION not a 

revival. And to finish off, what is hardcore? 
It's punk. See, it's one big inbred family. 
Lets have some fun, not taxe ourselves too 
seriously, and fucking mosh! It's good to 
remember the past, but let's live in the 
today and always let's fucking GO! 

First up is a EP by a band called 
NO REPLY from Los Angeles. Now with- 
out saying NO REPLY features a member 
of LIFES HALT, let me attempt to explain 
how fucking awesome this slab'o'thrash is. 
Yes, it has a strong '88 youth crew feel 
across it, but with the front graphic of a cop 
car shot to high hell, song titles li ke "I'm still 
rucking pissed" and ofcourse, the faster- 
than-usual speed of this record, this one 
stands apart. It is fucking awesome, skate- 
thrash, youth crew hardcore.. .so get offyour 
arses (or for all you wooden-toothed Brits, 
your "bums") and get this. Write the label 
at: Mankind Records, PO Box 461 , Bellflow- 
er CA, 90707. 

Steadfast Records from Ohio just sent 
in their two new CDs of the worst religious 
metal I've ever heard. Yeah, I could stom- 
ach the religious metal core when it first 
came out (even from OUTCAST and ZAO) 
but damn, I thought this shit would be over 
now. Personal beliefs aside, why are these 
dudes so pissed and metal when they're 
saved anyway? And remember, STRYPER 

sucked, SLAYER was good. Now, whose 
side did they choose to stand on? OK, so one 
wasasplitCDwithZAO/OUTCAST, which 
was heavier than a devil on Judgment Day. 
I can honestly say it was pretty good. Next 
up was ZAO's new CD, entitled All Else 
Failed, which was recorded better than their 
tracks on the split mentioned above. But 
dude, the thanx list and imagery makes me 
puke. Not only do Fila Visors / krishna 
Deads and hardcore not mix, but Almighty 
God Herself and hardcoredonotmix. Here s 
the address: Steadfast Records, PO Box 53, 
Avon Lake OH, 44012-0053. 

•Next up is a EP from ENGRAVE from 
Germany, and guess what they play? Super 
metallic hardcore. Guess what the visuals 
look like? Like NASA designed the cover, 
looks like it took $2 a copy to print this shit. 
Great record, especially since they tend to 
hit the fast beats which keep things interest- 
ing. Fans of SYSTRAL, GENHENNA, etc, 
will dig. Write the label at: Defiance, Ritter- 
strasse 50, 50668 Koln, GERMANY. 

Alright, an old EP from C A V ITY called 
Fuck Diablo got sent in, which is exactly 
what you'd expect from CAVITY (ie. super- 
sludge-heavy-as-shit-core). Not as good as 
their last two CDs, but hey, if you're a fan, 
you probably already have this. If not, write 
the label at: Arm Records, PO Box 1957, 
Lawrence KS, 66044 

Last but not least we got a split CD 
from Brazil with CATHARSIS and NEWS- 
PEAK. The CATHARSIS tracks are from 
the GEHENNA split LP, but this time 
around their enhanced by the CD quality. 
Passion on Crimethlnc, so watch out for that 
as well. The NEWSPEAK tracks are unre- 
leased and are awesome. NEWSPEAK is a 
band from Brazil that you have to watch out 
for. Really well-written metal-influenced 
hardcore that fans of CATHARSIS will dig. 
Write the label at: Liberation, Caixa Postal 
4193, Sao Paulo, SP, 01061-970 BRAZIL. 

Alright, on to the tapes! I got a pack- 
age from Rick ta Life and there were some 
tapes thrown in so 1 thought I would men- 
tion the good ones. Here we go: 

WHAT LIES AHEAD are from Mary- 
land and play some really catchy/melodic, 
but energetic youth crew stuff. Sometimes a 
little too melodic, but the positive lyrics 
won me over. Fans of VERBAL ASSAULT 
will dig. WHAT LIES AHEAD, POBox216, 
Ridgely MD, 21660. 

SIDEKICK from Germany play ultra 
catchy, hard-hitting hardcore tnat reminds 
me of DIEHARD from Cleveland (remem- 
ber them? Shit they were good ). Six songs in 
all, all of them really well done. I'd watch 
for some vinyl soon, these dudes play this 
shit well. Our World Records, Miinlweg 9, 
73269 Hochdorf, Germany. 

Other good tapes included shit from 

OK, last couple of things I acciden- 
tally listed that the Euro pressing of the 

actually its on GENET, another label from 
Belgium. Both GOOD LIFE and GENET 
have a ton of releases planned, plus there 
catalog is filled with tons of stuff, so check 
em out. By the way, the new LIAR LP (on 
Good Life) is as good as the new 
FALL SILENT record. ...the shit sounds ex- 
actly like the first PESTILENCE LP. Com- 
mitment Records just put out a new comp, 
plus have some more recordsplanned, so as 
always, keep your eyes peeled on that Dutch 
label. OK, it you want, you can always send 
tapes, news, releases to my address for 
inclusion in this column. Yv>u can write me 
at: Max/625, PO Box 423413, San Francisco, 
CA 94142-3413 USA. And as a last act of 
self-promotion, the new FOUND MY DI- 
RECTION CD is out on my label (625). 
They're in the mail coming from Australia, 
and if you missed their debut Ep from last 
year, FMDpIay really energetic youth crew. 
So watch for that. Oh, and one last thing, 
WHN just played with NO REPLY from Los 
Angeles, and they fucking rocked so 
hard. ..try to get their debut EP, they play 
great, fast youth crew. OK, till next time! 

NetPunk . 

Mark # ri&O- 
Hanford 1 <& L 

I've been thinki ng a lot about the web- 
sites I visit for this column. Some are way 
cool and some are stupid. Some are ricn 
with content, and some (like my site) don't 
get updated often enough. The coolest thing 
about them, though, is that they all repre- 
sent people (individuals or organizations) 
with something to say. Sometimes I want to 
kick their teeth in for what they have to say, 
but it is the availability of the web to every- 
one (even those without a computer, as 
libraries and schools often have web access) 
that is so fucking cool. 

Another thought running through my 
head is about music on the net. I often 
mention sites where bands have put up 
songs. With advancements in MP3 and Real 
Audio technology, the music you down- 
load sounds as good as anything I have on 
vinyl or CD. That being said, why aren't 
more bands who "aren't in it for the mon- 
ey" putting their entire albums or CDs on- 
line for free? If they really weren't doing it 
for a bit of cash, they'd stick their music up 
for the world to hear. I've done it at http:/ 
/www. Now how 
about you? Okay, on to the websites. First 
up this month is a super cool site I ran across 
for the Flex Your Head radio show, which 
apparently has been on the air in Vancou- 

ver, Canada for over ten years. Lots of good 
stuff here, including streaming audio, re- 
views, interviews (some over loyears old!), 
photos, and more. Well worth a visit, you'll 
find it at http://flexyourhead. Vancouver . 

Speaking of radio, P.R.O.D. (Punk 
Rock on Demand) Radio is a weekly inter- 
net only "radio" show at http: //www. club-, and they plav quite a bit 
of good music. The current show at this 
writing includes stuff by Crass, Rudimen- 
tary Peni, AFI, Aus Rotten, Reagan Youth, 
and a bunch more. They also archive their 
older shows, so there is a ton of stuff to 
listen to. 

I got e-mail from Felipe about a site 
that he and some other punks have put 
together as a resource about Latin Ameri- 
can punk. Divided by the countries in Cen- 
tral and South America, they are a mini 
BYOFL of the Latin Punk scene. In both 
Spanish and English, you'll find the site at . 

A small site, but worth your time for 
the audio files, is Hukka Pukka. Hukka 
Pukka is a small distro, and this site has 
their catalog, a link to some hardcore flyers 
and photos, and Hukka Pukka Radio, which 
are short (5 or 6 song) shows that you can 
download or stream in Real Audio. Some 
classic hardcore and punk tunes here. Visit 
it at 
kapukka/hph.htm . Speaking of distro, I 
have a couple other mailorder websites for 
you to take a look at. Get a Loife Mail Order 
from Belgium has a pretty good selection of 
punk and oi and is easy to look through. 
Vou still have to send them cash, and if 
you're in the US then shipping is expensive, 
but you might find that hard to find Euro- 
pean HC record here. Get a Loife is at http: / 

Another interesting but overpriced 
mailorder site is the Metro Music site (http: / 
/www. metro-music. com/). Carrying all 
genres of music, Metro Music is a site for 
record collector geeks. Most of the stuff 
they have is WAY more than I'd be willing 
to pay, but it is fun to read and see what my 
collection would be worth if I sold at their 
prices (Black Randy's Idi Amin 7" is $75 
nere!). Anyway, as a collector geek, I found 
it to be fun. 

If your taste runs to hardcore, noisec- 
ore, grind, power violence and the like, you 
might want to visit Robodog Records at 
information about the various Robodog 
bands, they also have a pretty nice selection 
of sound files, in MP3, wav, and Real Audio 

1 ran across a goofy site (actually, I 
think someone probably posted the URL to 
the punk-list, but whatever) of Punk Rock 
Power-ups. Of course, those of you raised 
on Nintendo and the like know that Power- 
ups are the little icons you can pick up in 
games to give you more life, better weap- 
ons, invincibility, etc. Well, the guy who 

does this site has come up with a slew of 
punk rock oriented power-ups. Take a look, 
cuz it's a riot — htrp: // 

Hey, i f you're pissed at the world (and 
what self-respecting punk rocker isn't?), 
then the next site will be a place you can go 
let off steam. Pissed Off, at http://www., is mostly bunch of mes- 
sage boards where people say what they 
think about all sorts of controversial issues, 
call each other names, and generally have a 
good ole rime. Probably screaming at the 
converted (or non-convertible), but what 
the heck. They also have some silly car- 
toons, some interesting iava games, and 
lists of "good" and "bad' organizations. 

A relatively new, but extremely de- 
veloped, punk site is Mister Ridiculous dot 
com. You'll find a ton of writing and record 
reviews, scene reports, a DIY section, and 
more. More stuff than you could possibly 
read in an afternoon, go to http:// 

That's about all I have time for this 
month. Feel free toe-mail me with your cool 
website, or throw me some links of the sites 
that you visit all the time. E-mail or visit http:/ 
/www. See 

any of the unreconstructed mid-period 
Stones (when they were last known to be 
any good) fan as well as some not answer- 
ing to that description as they've got their 
own bag of tricks and the Stones reference 
is just one of those standard MRR descrip- 
tive labor-saving devices. 

Yessir, these boys (remember, NOT 
girls) can really play but that doesn't get in 
their way at all. They can do it rocking, 
swampy /spooky, soulful; I'm mighty fuck- 
ing impressed and you probably will be too 
if you've enjoyed any or the fine In The Red 
(as mentioned a number of columns ago, 
one of those all too blessedly few labels that 
seems to be run according to the aesthetic 
dictates — and generally good dictates, at 
that — of its operator rather than the numer- 
ous "I wanna put out superfluous singles 
by all the hot bands" operations that I've 
railed about before, just to beat that drum 
one more time) releases. Nope, no payola 
here, I've never even met the guy, I m just 
glad that he exists. 

I90~% R®| 



My usual verbosity is somewhat 
curbed this month owing to my participa- 
tion in the "Top Ten Singles of the 
Nineties" round table (more Algonquin 
than Arthurian {in my dreams!)) palaver 
fest, especially as I misconstrued things and 
was originallv all set to suggest wire re- 
cordings of ' After the Ball is Over," "A 
Bicycle Built For Two," "The Band Played 
On," etc. (As it turns out, I can't even recall 
whether wire recordings were being made 
at that time, or even whether wax cylinders 
preceded wire recording technology; I used 
to know this, but since I've forgotten what 
would be the point of looking it up since I 
and presumably you would just forget it?) 

So I'll exercise my musical preroga- 
tive to call attention to a typically worth- 
while release from In The Red Records (you 
know the drill - 262? E. Strong 
PL, Anaheim, CA 92806), this being an LP 
from an outfit with the moniker The Knox- 
ville Girls (no relation to the Dixie Chicks, 
thankfully), who are not, in fact, girls (it's a 
reference to one of those songs you dang 
young whippersnappers wouldn't know 
anything about) but well worth the time of 

Hello. Time to go through all that 
"here's my new column" bullshit. This is my 
third different column for MRR over the 
past two years or so. The other two times, the 
columns were real specific like. One was 
"Censored," which I m sure many of you 
remember not reading, and the other was 
"Christian's Corner," which I'm sure many 
of you remember not understanding. Those 
columns sort of ran out of steam, because 
they were too narrowly focused, so 1 decid- 
ed to just do an open ended column. You can 
expect variety. 

A lot of the time, though, I will be 
writing about how common perceptions are 
erroneous or illogical . I was considering call- 
ing the column "Jane, You Ignorant Slut," or 
just "You Ignorant Slut," but firstly, 1 1 real- 
ized that most of you wouldn't get that one 
either, and secondly, it's a little bit too close 
to "You're Wrong/ 

There's a lot going on. I'd like to thank 
those folks who widened the poop chutes of 
the WTO, if only for a moment, arid forced 
the media to discuss the real issues of the 
global political economy, to some extent. 
Way to go. However, I'm sure you're hear- 
ing a lot about the WTO, probably in this 
very 'zine, so I'll leave it at that. 

So, on to the big topic. The pressure is 
really on here. If nobody likes it, because it's 
too boring, or it isn't sufficiently "tight," or 
whatever the fuck you people are calling 
cool things these days, a lot or you will never 

read my column again, and I won'tbe able to 
sell corporate advertising in it. So I figure I'll 
start with something everyone can relate to; 
the question of the cosmological constant. 
Or maybe school. After all, studies show 
that fully half of MRR readers have attended 
school at some point. School is one of those 
topics that people love to talk about, but that 
I really hate to hear people talk about. This is 
simply because wnen people talk about 
school, they are usually being almost hypo- 
critical enough to qualify for membership in 
Rage Against the Machine, and hypocrisy is 
kind of a pet peeve of mine. 

Virtually every politician claims to 
stand for education, as do most parents, and 
just about everybody else. Wouldn't it be 
nice if instead of being a bunch of hyper- 
ignorant, complacent, beer drinking tube 
jockeys, Americans were an informed, clear 
thinking citizenry? Sounds good to me, and 
maybe you, but that's not what most people, 
or the powers that be, really want, as is 
evidenced by the commonness of this con- 
versation; "What did you learn in school 


The fact of the matter is that we are not 
sent to school to be educated, in the usual 
sense. When I look back at my high school 
education, for example, I'm actually im- 
pressed at how little I learned. I was at the 
place for about six working hours a day, five 
days a week, eight months a year for four 
years, with only one ostensible goal. To learn. 
Yet at the end of all those hours of school, I 
hadn't really learned that much, except for 
how to avoid going to school. In fact, I'm 
pretty sure if I had just been locked in a 
library for that amount of time, I would have 
emerged with a far better education. And I 
went to a very good school, where a few 
good teachers taught me a lot more than 
most kids learn, like how to write a formal 
essay, and this game a P.E. teacher taught 
me called "special secret." 

The simple fact is that k-12 is not about 
education as we usually think about it. It is 
about manufacturing docile drones, with a 
high enough level of rudimentary skills to be 
productive. And, the fact is, that is the way 
we like it. All of the bitching about education 
is due to the fact that even these skil Is are not 
sufficiently taught. 

The simplest way I can think of to 
demonstrate this principle is in the teaching 
of the arts. Pop quiz. What is the most prev- 
alent and important art form of this century? 
Answer, film. Now, what is the art form least 
likely to be taught to students? Answer, fi Im . 

Let's take a closer look at this. Like 
most people, kids see and enjoy films. Most 
of them like to discuss film. OK, as things 
stand, the discussion is mostly focused on 
explosions and ass shots, but all the more 
reason to educate. So basically, kids are very 
interested in today's most important art form, 
but we refuse to teach them about it. Imagine 
the children of olden times clamoring to go 
see Hamlet performed during its first run, 

O o Xiamn 

but instead being forced to read Homer. It's 
almost laughable, but that 'sessentially what 
we do today. True, most kids are not inter- 
ested in Ingmar Bergman films, but it 
wouldn't be difficult at all to strike up an 
interest in recent masterpieces like Taxi Driv- 
er, Dr. Strangelove or even Pulp Fiction. 

Admittedly, Taxi Driver does not stack 
up to Hamlet. Not much does. However, it is 
a great work of art, and almost empirically 
more so than Lord of the Flies. Obviously, the 
works of Shakespeare and other great'liter- 
ature are a part of any well-rounded educa- 
tion, but when many or most children are 
actually eager to learn about great art, it 
makes no sense to deny them. That is, if 
you're actually interested in education. 

A more complicated issue is that of 
critical thinking. Ask a bunch of intellectuals 
in a wide range of disciplines to name the 
single most valuable skill an average person 
can have for understanding the day to day 
world, and you can pretty safely wager that 
the most common answer will be critical 
thinking. That's why most universities re- 
quire a class in it. Roughly, critical thinking 
is the application of a system of logic, espe- 
cially to arguments or claims. Wnen you 
learn to think critically, you learn to look for 
things like assumptions or contradictions in 
statements or arguments. Some people do it 
instinctively, but learning the formal meth- 
ods is beneficial to almost everybody. I won't 
try to convey the methods here, write me if 
you want references. 

The point is that critical thinking is 
useful in everything toevaluating advertise- 
ments or politicians, to detecting your own 
prejudices in the way you make decisions 
about friends, jobs, or what kind of shoes to 
buy. Anytime you make an argument, wheth- 
er it's about abortion or why you should get 
a raise, critical thinking is of fundamental 
importance. Everybody remembers wonder- 
ing if learning a subject like algebra or P.E. 
was ever going to have a practical payoff. 
Critical thinking is of use, but only assuming 
you vote, consume, have serious conversa- 
tions, appreciate art, seriously study any 
topic, or make decisions. In spite of this, not 
only are most people never taught critical 
thinking skills, they don't even know what 
the term means. Again, itseemsalmostself- 
evident that a society the least bit concerned 
with genuine education would teach stu- 
dents critical thinking skills. 

Of course the questions of education 
are much deeper than what subjects are 
taught. For one thing, there is the question of 
how things are taught. Everybody knows 
that you learn by doing. You learn to appre- 
ciate literature by reading it, but also by 
participating in thorough discussions of it. 
That's why college-level classes are more 
likely to operate in a more participatory 
fashion, and grad school classes are much 
more participatory and less structured. At 
that level, education, in usual sense of the 
word, is an important goal. 

So what is the goal of education as it 

exists for most? It's not too difficult to figure 
out. I remember reading a passage by Michael 
Parenti, in which he said you can either look 
at US foreign policy as a series of blunders 
and miscalculations, which is the stance of 
the mainstream ideology, or you can look 
for patterns and look at the results of US 
policy, and see what its intent was. It's ei- 
ther, "oops, a war in Vietnam," "uh-oh, we 
hired some Nazis" and "doh, we protected 
another corporate interest," or a well execut- 
ed plan of opposing popular interests and 
supporting moneyed power. 

The same principle applies to educa- 
tion. All you have to do is look at what is 
done, instead of what is said. The education- 
al system works to produce people who are 
used to sitting in a boring, unpleasant atmo- 
sphere for about eight hours a day, are used 
to taking orders and following rules, no 
matter how arbitrary (e.g. no hats indoors). 
It does nothing, a t most, to foster clear think- 
ing or educate usabout the products we buy, 
the people we elect, the companies we work 
for, or the media we view. In short, we aren't 
taught about 90% of what makes up our 

Is this the unintended consequence of 
a broken system? If so, it is an astonishing 
coincidence that this is the same type of 
education that the most powerful interests 
in our society can most benefit from. We 
wind up with a popula tion who have learned 
to spend most of their lives doing work that 
they don't want to do and taking orders 
from anyone designated as the boss, and 
spend the rest of their time looking at ads on 
TV. You get robotic consumers, who can be 
easily manipulated. You get voters who will 
be likewise, and who are less likely to under- 
stand important issues. While they're chas- 
ing their tails over gay marriages, the elites 
can plan the economy, or give away publicly 
held assets. Think back to the example of 
film. If you owned a million shares of Sony, 
would you want to deal with a savvy filmgo- 
ing audience, or be guaranteed a profit for 
any film starring Will Smith and 5100 mil- 
lion dollars worth of special effects? 

Why and how are things set up this 
way? That's more complex. The culprits 
range from Bible-beating parents, who think 
that the earth predates the Stanley Cup, to 
those big cheeses themselves, but also in- 
clude a lot of "average" people. There's the 
vicious cycle of ignorant parents insisting 
that their childrens' educations are in keep- 
ing with their ignorance. There are a lot of 
normative ways to approach the issue, in- 
cluding the idea that maybe the average 
person is going to be a mindless drone no 
matter what, so they should be trained ac- 
cordingly. Maybe I'll write about some of 
that stuff some other time, vou ignorant slut. 

Internet fun!!!! I was killing time on the 
net, and had an idea. 1 visited the Rudolph 
Giuliani (aka Skeletor) campaign site, at 
www.whitepowe... uh, I mean, and signed up several 
times, promising to volunteer and make con- 

tributions, as well as requesting anything 
they will send me. I cut and pasted a supply 
of addresses and phone numbers for NY out 
of the yahoo yellow pages. You can get e - 
mail addresses out of member directories. 
This is one of those cases where one person 
can't do much, but if a few hundred people 
start registering about a dozen bogus names 
a week, Rudy's internet recruiting will be 
rendered useless. A fun way to fight Rudy 
(yes, I live in California, but, to paraphrase 
tne4skins, Rudy is evil evil evil evil) without 
directly supporting Hillary. Also, check out 
a great parody site at, the op- 
erators of which may be joining in this cam- 

Next month: I join the Target Star- 
bucks school of fiction. 

In caseyou didn't notice, I'm not from 
California. Ya know what, 1 never will be 
from California. But guess what: this col- 
umn isn't about California. It's about Eu- 

Yes, I realize that I'm a Stupid Ameri- 
can, but what kind of genius does it take to 
understand a European point of view? I 
mean, not every European is fucked up in 
the same way, but they re all equally strange. 
I mean, I've gotten fetters from thirty-five 
year olds in Germany and it looks like a 
letter I would have written when I was thir- 
teen. When I was thirteen I used to study 
record covers with awe and wonder about 
all themysteriessurroundingtheband mem- 
bers ancf the scene they were a part of. Some- 
times I would mimic the way they dressed 
and buy records from bands they thanked in 
the liner notes. I was a freaking NERD! I had 
no friends and I had no life other than sitting 
in front of the TV watching That's Incredible, 
and I fixed computers that had gum shoved 
in every crevice. 

I mean I can open any piece of mail 
with that stupid "Par Avion' sticker on it 
and read it aloud and gaina few laughs. lean 
get past the poor English; I mean it will be at 
least another five years before everyone is 
forced to speak English and throw out 
whatever silly language they speak now. 
But why would you ask me questions about 
Rick from 25 Ta Life? They really think that 
everyone is New York hangs out on the 
street together uniting and solving our 
many, many disputes? That we have some 
Mason-type society headed by the RA- 

Well, I'll let all of the Germans and 

Eastern Europeans in on a secret. Yes, we 
really do nothing but hang on the street. 
George Tabb heads a small militia of fifteen 
year olds in leather jackets with army pins 
that go up against kids from Long Island 
who name their bands after characters on 
The Simpsons. The main meetings of the 
NYC scene are held at that rehab center on 
St. Marks Place every Tuesday night, and 
Dee Dee Ramone gives people awards for 
public drinking displays and for hurling 
dog poop at the yuppies sitting around the 
Washington Square dog run. See, all this 
exciting stuff is going on here and all you 
Germans are missing it! You're sitting there 
in your squat and you could be fighting 
American Injustice like us, spray painting 
punk things all over the Bowery. 

What everyone here does is try and 
convince you that your intense studying of 
our culture is getting you the wrong an- 
swers. You write letters to - various New 
York fanzine editors and they try and con- 
vince you that all this work is not going on. 
We lie about how there are no clubs to play 
in and no bands to speak of so you all will 
leave us alone to mosn in peace. I know that 
you like to hear every band play for two 
hours when they tour over there, but the 
fact is that they actually play for four hours 
over here! For every LP that makes its way 
to Europe, three are produced without any 
of you knowing. And those three actually 
have the good songs about moshing and 
keeping it real and how we are really all 
communist skinheads. 

Auf Wiedersehen, Bill. You can reach 
me with your inquiries on how to join the 
New York hardcore scene at greedy, but don't send 
me letters because I will throw them away. 


Going Home 

Got my traveling papers to leave Port- 
land. That is, my probation transfer came 
through and I'm heading to New York — to 
Long Island to be precise — to land at my 
parents' house. Driving across America, 
thinking about a lot of things and with my 
son. I'm thinking about all those loose ends 
that never got resolved in my life. First about 
my current years in Portland and then be- 
yond to San Francisco and Austin, Texas. 
Finally to my childhood. And then I flash on 
to my first childhood experience with my 
grandma potty-training me at about two 
years of age. Sitting together, her on the edge 
of the tub, encouraging me with the water 

running, to squeeze, you know the route. 
She was so patient and so warm about it. I'm 
not sure, but somehow I get the feeling I 
didn't get it quickly, that we spent a lot a 
time working on it. I then flash on how she 
dragged me out of her sister's house after 
something went down along the lines of me 
being "the Jewish one",being half-Jewish on 
mv father's side — my maternal side being 
solid Italian — and them having a hard time 
getting over it. I don't really remember any- 
thing about it except how protective she was 
towards me. No doubt I was Grandma's 
favorite and she was very special to me. 

Grandma worked at the same job for 
30 years, as a cafeteria worker for Horn and 
Hartdacts in Manhattan. She made $1.65 an 
hour and I remember — this because my first 
job 10 years later I was paid $1.65 an hour, 
and as a busboy a t a country club. And when 
I first went to college, she would mail me 
two $1 dollar bills and I'd grin and roll my 
eyes but now, further down the bumpy road 
of life, realizing those dollars represent her 
standing on her feet for hours of her life.This 
makes me appreciate her more and more. 
And as I'm driving from Eastern Oregon 
into Idaho I start remembering more and 
more about how soft and warm she was with 
me. And with the rest of the world she was 
OK, not overly friendly but very generous to 
many. To family and neighbors, but also to a 
certain number of down-and-outers in Ja- 
maica, Queens, where we lived. I remember 
a a few were like street people or winos that 
she knew from way back. She'd tell me how 
they were regular folks 'til something terri- 
ble happened to them, like they lost a child 
or a sibling in a accident and that they never 
were the same. She'd talk with them and 
wish them well. Then I fast forward to when 
she died five years ago when I first moved to 
Portland. I'm' feeling some guilt because she 
always asked me to come back and stay with 
her for a while and I'd say sure, I was "on the 
way" and then I'd stop off to visit her while 
on tour and I'd visit for an hour or two and 
she'd be so happy to see me and so sad to see 
me go so quickly. I remember her smell, a 
mix of perfumed soap, and her body odor 
with a touch of the smell of moth balls. This 
triggers fresh memories of days long past, 
like going to see the horses at Prospect Park 
in Brooklyn and running around the play- 
ground and and cooling off in the sprinklers 
they had in our local parks in summer. My 
mind is racing remembering all of these 
forgotten thoughts. 

Again a memorv pops into my mind, 
of trying out to be an altar boy at Immaculate 
Conception Church — how I was selected 
with four other boys and how happy Grand- 
ma was for me. Then they decided to drop 
one of the al tar boys, and i t was me. Nothing 
got said, but from that day on Grandma 
never went to Mass. We'd go to light candles 
on weekdays in the afternoons, but never on 
a Sunday or a religious holiday again. I'm 
just figuring it out now. It was in loyalty to 
me. I didn't really care, I was eight years old, 

but now, with my son sleeping next to me in 
the dark crossing into Nebraska, I get it. 

I remember this game where she'd hide 
little Snickers Bars around with little notes 
with clues and I'd get so excited. How spe- 
cial it made me feel. I remember being so 
scared going to school for the first time and 
her walking me there, telling me lovingly 
not to be scared and cry, and picking me up 
later that day. And one day soon after she 

Picked me up and she was crying because 
resident Kennedy had been assasinated 
and I earnestly suggested to her "not to be 
scared and cry", and she hugged me so 
tightly, squeezing me into her body. And 
now fm heading home and I'm old enough 
to get it all, and she's gone. But I drive and 
drive, like she's gonna be there. Finally we 
get there, in the middle of the night. My son 
goes right to bed and I talk to my mom a bit 
and she goes to bed and I ask if I can go into 
Grandma's room and she nods OK. So I slip 
into her room, and my mom has not touched 
a thing in her room. It's filled with Sacred 
Heart Jesus' and Madonna pictures, ceram- 
ics, and large tinted-glass candles. I light all 
the candles and with the mirrors, a large 
rose-colored glow is emitted into the room 
and I can smell the perfumed soap and moth- 
balls but not her smell and I breathe deep 
and I think about her kindness and how rich 
and warm it always made me feel and I feel 
so lucky to have had it. Here's to you, and I 
hope rich warm things happen for you this 
Solstice. M DC has got a line up together and 
are looking to do all-age, $5 or less shows 
and benefits based out of NY so email some 
gig ideas for the Mid-Atlantic/ New En- 

fland Area at or call 

So here's the latest Popsicko column. 
It's been a while since the fast installment 
due partly to time restraints, including much 
needed breaks, no matter how short from 
reviewing and punk and indie rock in gener- 
al, and due to a lack of material to review 
here. I've always had a mix here of stuff 
reviewed in MRR and stuff not quite in the 
coverage area but still worthwhile. To cut a 
long story short, 1 need more pop stuff, or at 
least a clue as to what's good out there. It's 
too hard and expensive to go out and buy 
records based on sleeve art and hope it s 
good pop or indie. I'd prefer this column not 
to be a longhand version of my MRR Top 
Tens, even though I will continue to mention 
the highlights. So now is the time to send 

those releases or recommendations, other- 
wise this column could become a way too 
infrequent event. I realize MRR isn't the best 
arena for this stuff. Our general snobbery of 
indie rock and pop punk is no secret, al- 
though I can't complain about the amount of 
support I've gotten here and outside the 
ranks as well. With that said and not yet 
resorting to the "send your records directly 
to me" approach, let's move on. 

First up is the self titled ALL SYSTEMS 
GO! CD on Coldfront Records (PO Box 8345, 
Berkeley, CA 94707). This band features John 
Kastner from the late great Doughboys and 
a couple Big Drill Car guys. This is one great 
debut with its power pop tendencies com- 
pared to the Doughboys dabblings in rock 
towards the end. 1 was not let down by this 
much anticipated release at all. The STEREO 
Three Hundred CD on Fueled By Ramen 
Records (PO Box 12563, Gainesville, FL 
32604) is a great pop punk meets power pop 
release. Think really poppy Bad Religion 
mixed with really poppy Green Day. So this 
is pretty basic yet spunky stuff with harmo- 
nies and a couple mellow tunes. Produced 
by J. Robbins, I nope this release gets heard. 
One of my local faves AMERICAN STEEL 
has a new LP Rogue's March on Lookout 
Records (PO Box 1 1374, Berkeley, C A 94712). 
This is a truly great release. The power of the 
first LP, with a better mix of songs. Quickly 
becoming one of the great US bands to be 
reckoned with. I compare this band to Op 
Ivy or similar Gilman sounding bands in 
their prime. A band that gives Dillinger Four 
some serious punk rock competition. Also 
on Lookout is the new ANN BERETTA LP 
To All Our Fallen Heroes. Another strong 
release from this Clash-meets-Rancid type 
of rock and roll band. In fact this could be 
their most punk release yet. Although based 
on the promo photo there may have been 
some line-up changes since this was record- 
ed, which could be a bummer. The BIGWIG 
Slay Asleep on Kung Fu Records (PO Box 
306*1, Seal Beach, CA 90740) is one awesome 
punk record in the Propaghandi meets 
Weston vein. I really love this for it's power 
and tight riffing as well the shout along 
songs. This is definitely one of my top tens 
for the year. The DYNAMITE BOY Finders 
Keepers CD on Fearless Records (13772 Gold- 
enwest St. #545, Westminister, C A 92683) is 
a solid second full length from these pop 
punkers. Somewhere inbetween Green Day 
and Face To Face, these guys have this pop- 
ular sound down. Even though many folks 
are burnt on this genre, it's still nice to hear 
this stuff done rignt. 

Walk CD on Lobster Records (PO Box 147; 
Santa Barbara, CA 93102) isa good pop punk 
meets emo release. Their second LP, this 
almost has an uptempo Samiam meets Jim- 
my Eat World feel. These guys sure must put 
the time into cool guitar parts. This may take 
a little longer to sink in but it will sink in. The 
AT THE DRIVE IN Vai/a CD on Fearless 
Records (13772 Goldenwest St. #545, West- 


minister, CA 92683) is worth a mention. One 
of the more intense live bands out there, this 
continues in the emo meets post punk direc- 
tion they have been going in. A good disc for 
you more adventurous types. The self titled 
Records (15 Janis Way, Scotts Valley, CA 
95066) is a good hardcore slash punk rock 
record. Somewhere in between Redemption 
87 and the Adolescents, I really like this 
band for it's anthemic feel. THE BULLYS 
Tonite We Fight Again! CD on Headlock 
Records (PO Box 580. Mi dtown Station, New 
York, NY 10018) is good snotty punk in the 
Stitches/Dead Boys tfein. Not for the fanat- 
ically PC, 1 thought this would be another 
generic Oi disc but was glad to hear some 
good 1977-style punk. Their second full 
length. One of my UK faves TRAVIS CUT 
has a singles comp CD Another Day Another 
Drummer on Snuffy Smile (4-24-4-302 Daiza- 
wa Setagaya-ku, Tokyo 155-0032, Japan). 
Masters of pop punk over there with Snuff 
and the Crackle crew. A great deal if you can 
find this. Since we are on the subject of 
Snuffy Smile... Why does Snuffy Smile put 
out such limited quantity of so many great 
releases? It's brings up those "I love you but 
1 hate you" sentiments when trying to find 
their releases. The HUNDRED MILLION 
MARTIANS Marsbars C D on Hiljaiset Levy t, 
(PO Box 211, FI-33201, Taupere, Finland) is 
good new wave-ish punk. A bit of power 
pop too. I think I compared this to D Gener- 
ation without the hair products. Good catchy 
tunes with a few softies thrown in. The DED 
BUGS Sugar Coated Snot Pops CD (318 Stew- 
art, Desoto, MO 63020) is great power pop. 
Reminds me of 1979 power pop mixed with 
The Figgs. Think Yum Yums too. Just plain 
good pop with a retro feel. Cheetah's Records 
(PO Box 4442, Berkeley, CA 94704) has put 
out three good releases. The ANTI DOMES- 
TIX This Demon Called Love EP has a more 
punk Face To Face feel at times and an AFI 
feel at others. A Stockton band that can belt 
it out. The 78 RPM's Figure It Out EP is great 
1 978 sound ing punk. Pre-leather jacket punk 
w i th a dash oforgan. Th is could have passed 
for a late 70s release with it's energy and 
unique sound. Woulda been on Stiff or 
Chiswick back in the day. 1 certainlv miss the 
variety of old punk. Faction punk has taken 
over! The BLACK CAT MUSIC This Is The 
Nezu Romance 12" EP is good post punk-ish 
rock and roll punk. Featuring past or present 
members of the Criminals and the Receiv- 
ers, these guys may be onto something. Hey 
1 love high-energv punk as much as the next 
guy but it's coof to hear a different song 
every now and then. Once again, three good 
releases from Cheetah. 

Winding down with odds and ends on 
the pop front.Local all-gal group The KIRBY 
GRIPS have a new 45, Fireman, on Rodent 
Records (250 Napoleon St. #N , San Fran- 
cisco, CA 94124). I really like this band. This 
is spirit of Rough Trade circa 1979 stuff, a la 
the Raincoats or the Slits. Maybe listenable K 
records too. The KISSING BOOK Lines And 

Color LP on Magic Marker Records (PO Box 
9342, Portland, OR 97207) is good twee stuff 
a la Rocketship or Sarah label stuff. A little 
uneven, but worth it for the pop songs that 
work. The BIKERIDE Thirhj-Seven Secrets I 
Only Told America LP on Hidden Agenda 
Records (thru Parasol, 905 South Lynn St., 
Urbana, IL 61801) is a great indie release. 
Perky wimp pop with lots of guy /gal vocals. 
Every instrument is on this thing done home 
studio style. Kinda '60s beat pop too. Con- 
nected to Parasol, you know it's gotta be 
good. Highly recommended for the indie 
pop folk. The CALCULATORS Simplicity 
And Style 10" EP on Spectator Records (no 
street address) really goes for that early tech- 
no sound of Tuxedomoon and Ultravox. Not 
too bad at it either. Really keeping the new 
wave alive. 

The RYDELL Home EP on Flame One 
(Lerystr. 54/1/21, 1110 Wien, Austria) 
sounds like an emo band unplugged. Good 
stuff that builds up vocally but never rocks 
out. I think they did a split with Hot Water 
Music too. Decent for now although at some 
point on future releases they are gonna have 
to kick it in to hold my attention. From 
Break-Up! Records (PO Box 15372, Colum- 
bus, OH 43215) is the PAT DULL AND HIS 
MEDIA WHORES It's About Time 45. From 
the label that only brings you Power Pop, 
this has one power pop song and one decent 
acoustic song. Although a name change 
might not be a bad idea, this is a pretty good 

Last up is the BITESIZE The Best Of CD 
on Packing Heat Records (PO Box 13833, 
Berkeley, CA 94712). This is really good 
Pixies meet Pee type indie rock. Spunky 
with sometimes guy vocals and sometimes 
gal vocals in songs usually around the two 
minute mark. A good local band I'll have to 
check out. 

So that will do it for this month. Re- 
member, if you're a pop kid who gets beat 
up by punk rockers, send me your band's or 
your label's or your friend's label/band's 
releases. And if you are a punk rocker that 
beats up on pop kids, at least have the decen- 
cy to ask them what's good and let me know. 

Joey races down his driveway on the 
green Scnwinn bicycle he uses on his morn- 
ing paper route. His happy old dog, a col- 
lie/spaniel/terrier mutt named Waldo, is 
in the handlebar basket, mouth open and 
tongue out as the air races around the speed- 

ing bike. I walk down the front yard of my 
parents' house across the street in a San 
Bernardino suburb, all of eleven years old. 

I see the paneled Ford Falcon station 
wagon rolling down the street as Joey reach- 
es the sidewalk. He doesn't see the car until 
he's in the road. Joey swerves at the same 
moment the d river hits his brakes. The flim- 
sy front bicvcle tire collapses against the car 
bumper's impact, sending Joey flying in 
one direction and Waldo in another. Joey 
hits the gutter and breaks a leg. Waldo 
slams into the station wagon's radiator grill 
witha panicked yelp.Thebrakesaresqueal- 
ing, but the car is still traveling pretty fast. 
The dog bounces off the grill, hits the street, 
and slides across the asphalt, coming to rest 
dead at my feet where I stand on the curb. 

Something shifts at that instant. Joey 
is screaming, very much alive. The driver 
runs to the injured kid from the station 
wagon stopped in the middle of the road. 
The bike lies crumpled, half under the car. 
I watch myself kneel down and turn over 
the dead dog. It's as if I'm hovering above 
the unfolding drama, taking it all in. At the 
same instant, I'm acutely aware of Waldo's 
crushed corpse; with every hair of the dog 
so precisely defined, the dark eyes frozen in 
surprise, teeth bared and broken, blood 
leaking from the nostrils. One instant alive, 
the next dead. 

The world glows with an inner lumi- 
nescence and moves with a deliberate syr- 
upy motion. Neighbors congregate, as the 
driver talks apologetically with Joey's 
stunned parents; the injured kid at their 
feet. The police arrive and write everything 
up. Joey's sister finds Waldo and cries. Her 
tears are pearls of slow mercury. The mom 
bundles her into the family car driven bv 
the dad and they take Joey to the hospital. 
The dog catcher arrives and scoops the 
dead dog into the box in his truck. Every- 
thing burns with transcendent light and 
profound significance. 

I feel like I'm seeing things for the first 
time, or more precisely seeing through 
things to their underlying reality. 

Sounds like an acid trip? Well, I've 
hadanalogous experiences under the influ- 
enceof various psychotropic substances. In 
addition to a couple of comparable experi- 
ences to the one above triggered spontane- 
ously by circumstances, I've also gotten 
corresponding altered states through more 
traditional "spiritual" practices. 

Hold everything! Did "more radical 
than thou" "Lefty" Hooliganjust admit to 
involvement in spiritualism? The end of the 
world is here! 

Who was it who said: "The map is not 
the territory?" 

Wittgenstein, I think. Or maybe it was 
Korzybski. It's a simple enough concept. 
The road map of the United States is not the 
United States. The ways we see, describe 
and codify realitv are not reality. Not only 
are there multiple maps for the same terri- 
tory, the territory is much more than all its 

maps put together. Most people who aren't 
narrow fanatics or who weren't raised by 
same, unconsciously operate from a couple 
of different, sometimes conflicting maps of 
reality. I'm just a hell of a lot more conscious 
than most of the maps I use to navigate. I 
apply Hooligan's version of a left Marxist 
map when im considering social issues, 
ana dialectical materialism is part-and-par- 
cel of that map. But while sophisticated 
Marxists have managed to give consider- 
able autonomy to non-economic social fac- 
tors using dialectical materialism (Gramsci 
with culture; Poulantzas with the state) there 
is no acknowledgemenfthat there might be 
non-material, transcendent aspects to real- 

My own personal experiences require 
a broader understanding of reality than 
Hooligan can provide. I don't ha ve a worked 
outgrand synthesis or complete world view; 
just a bunch of different maps, one of which 
attempts to chart this nonmaterial, tran- 
scendent existence. The experience of tran- 
scendence that underlies much religious 
and spiritual practice is by no means limit- 
ed to these expressions. One of my non- 
drug induced moments of supreme clarity 
came after having snuck into the second 
Isla Vista anti-Bank of America riot in 1970. 
Standing on an apartment rooftop exhaust- 
ed after a night of cat-and-mouse with the 
cops on the streets, watching tear gas mix 
with smoke and flame as trie moon rose 
over the UCSB student ghetto, listening to a 
local record store blare The Rolling Stones' 
"Streetfighting Man" from mammoth 
speakers on their rooftop, I saw the larger, 
thoroughly circumscribed, almost comic 
game we were all unconsciously playing. 

I'm not giving such instances of non- 
material transcendence any type of social 
primacy, mind you. I have no interest in 
building churches or starting religions 
around them. They do exist however and 
frequently they have a profound affect on 
individual behavior. That such "states of 
consciousness" are m'atters of a personal 
psychology that can be socially manipulat- 
ed'by everything from a religious cult to a 
fascist regime needs to be understood as 
well. Indeed, fascism is explicitly anti-ma- 
terialist, perversely appealing to this sense 
of the non-rational, spiritual, sacred and 
transcendent. Marxism ignores this human 
experience at its own peril. Even Marx un- 
derstood that ideas become a material force 
when they take hold of large masses of 

Ah, cut the crap, you say and tell the 
readers what "spiritual practices." Okay, I 
went a little overboard my junior year of 
high school, had a genuine William James 
conversion experience and became a born- 
again Christian, what in those days was 
called a Jesus freak, for six months. Christ, 
that was over 30 years ago! I also do a little 
ecumenical meditation. 

Meditation is simply a matter of con- 
centrating and being aware. And the sim- 

plest method of meditation is to pay atten- 
tion to your breathing. Watch as you take in 
a breath, then expel it, over ana over. The 
idea is that this helps bring you into the 

Easiest damn thing in the world? Try 
paying attention to your breathing for even 
five minutes. Before thirty seconds have 
ticked off, your mind is wandering. Five 
minutes later, you've forgotten all about 
your breathing as your mind races in a 
dozen different directions. When you do 
manage to pay attention to your breathing 
for any length of time, sometimes you catch 
yourself controlling vour breath instead of 
merely watching it. It's basic "uncertainty 
principle." The observer affecting what s 
observed, that sort of thing. There are med- 
itative exercises thatcall for regulating your 
breath, but this is simple mindfulness. At- 
tentively watching yourself breath... 

Werner Heisenberg's (1901-76) clas- 
sic formulation of the uncertainty principle 
stated that it's impossible to determine both 
the position and momentum of a subatomic 
particle with any accuracy. Pin down posi- 
tion, lose the momentum and visa versa. 
Things get interesting when Heisenberg's 
uncertainty principle is applied to light, 
which of course simultaneously demon- 
strates both wave-like and particle-like 
properties. There are simple, spooky phys- 
ics experiments where you see light behave 
as either wave or particle, depending on 
whether you're looking for one or the other. 
Observe the particle, lose the wave and visa 
versa. The observer affects what's ob- 
Uncertainty. Unpredictability. Chaos. 
Students and other folk at the Univer- 
sity of California, San Diego, get a bit of 
entertainment on a hot spring day in 1980 
when the student government purchases 
several truckloads of artificial snow and 
dump the white stuff on the lawn of one of 
the cluster colleges. Word spreads quickly. 
Soon scores of people are playing in the 
snow, building snowpeople, and having 
snowball fights. A favorite target for snow- 
ball attacks are cars driving by on an on- 
campus road. Folks bombard each passing 
vehicle mercilessly, until a University po- 
lice car finally shows up. The two cops in 
their car drive down the empty side road 
next to the pile of snow, turn around and, 
without getting out of their car or actually 
stopping, use a loudspeaker to broadcast a 
warning. Throwing snowballs at cars is 
dangerous and we have to stop. 

The response is immediate. Thirty to 
forty snowballs crash down onto the police 
car as it starts to drive off, prompting the 
cops to screech to a halt. Again the loud- 
speaker. If we don't stop, the cops will have 
to put an end to our fun. Do we under- 
stand? At that threat most folks drop their 
icy weapons and the police car resumes 
driving away. 1 bend down, scoop up 
enough loose snow to pack into a decent 
sized snowball, and let fly. There is com- 

plete silence as everyone watches the cold 
white object arc up high into the bright blue 
sky heading for the receding cop car. Blam, 
it smacks squarely onto the car's roof. A 
cheer goes up from the people around me. 
The cops jerk their vehicle to a halt in a 
squeal of brakes, but when they realize no 
more snowballs are forthcoming they con- 
tinue on their way. 

Funny thing, I know that snowball is 
v oing to hit the police car the moment it 
eaves my hand. 

It's hard to say why I'm so certain. I 
don't have an "eye" for such things, nor can 
I throw with any accuracy at a stationary 
object let alone a moving one. I just know 
immediately that snowball is gonna hit that 
police car. I myself subscribe to a theory of 
intuition that assumes we're always receiv- 
ing and processing information on many 
levels other than the conscious. Intuition 
then is the flash that comes when a number 
of non-conscious bits of information come 
together as a conscious insight. This isn't 
intuition. I don't watch the flight of my 
snowball and suddenly realize it's on a 
collision course. I know with absolute cer- 
tainty that snowball's destiny the moment 
it leaves my hand. 

Absolute certainty. 

Not quite the same thing as a moment 
of transcendence, which is more like expe- 
riencing the reality behind reality. Super 
real. A supersaturation of the moment with 
the moment. 

Absolute certainty is another matter. 

That's what religion and ideology and 
science intend to provide in lieu of tran- 
scendence. And it's what most folks actual- 
ly prefer. Knowing something with abso- 
lute certaintv, instead of experiencing the 
absolute with certainty. However, the var- 
ious ways in which men of different tradi- 
tions have conceived the meaning and meth- 
od of the 'way' which leads to the highest 
levels of religious or of metaphysical aware- 
ness," to quote Thomas Merton, have much 
more in common in their mysticism than do 
Various often warring claims of absolute 
truth in their certainty within the same 

During the Middle Ages theChurch — 
as the Holy Roman Empire — considered 
itself the repository of all classical Greco- 
Roman "knowledge" as well as the protec- 
tor of "western civilization" from trie infi- 
del Moslems. Never mind that Islam pre- 
served the writings of the likes of Aristotle 
and Plato when all those Germanic barbar- 
ians were sacking Rome and burning down 
its libraries. Problem was that a lot of the 
"knowledge of antiquity," especially the 
science, turned out to be wrong. 

Take the astronomical ideas of Clau- 
dius Ptolemaeus of Alexandria (100-178CE). 
He thought that the earth was in the center 
of the universe and that the planets, moon, 
the sun and stars were all fixed in separate 
spheres that moved these objects around 
the earth in perfect circles. Known as the 

Ptolemaic system, it could give only very 
crude pred icrions as to the positions of p lan- 
etary bodies because, of course, the earth is 
not in the center of the universe but re- 
volves around the sun as do the other plan- 
ets, and such orbits are far from perfect 
circles. The earth for instance would pass 
anotherplanet in orbitand that planet would 
appear to move backwards across the sky. 
For the longest time western astronomers 
never challenged the Ptolemaic system's 
basic assumptions however. They simply 
invented subtle corrections to it, like de- 
scribing "epicycles" — small orbits within 
larger'orbits — to account for the Ptolemaic 
system's inaccuracies. 

With the full authority of the Catholic 
Church/Holy Roman Empire and holy 
scripture behind it, the Ptolemaic system 
struggled along into the 16th century, ac- 
cruing more and more corrections until it 
wa,s a complicated, unwieldy mess. Then 
along came the astronomer Nicolaus Co- 
pernicus (1473-1543) who relied not on 
Ptolemaic dogma but rather on his own 
observations in order to write his book De 
revolutionibits orbium coelestium in which he 
proposed that the earth orbited around the 
sun. Smart man, Copernicus published his 
book a month before his own death, first 
seeing a copy of it on his death bed. When 
GalileoGalilei (1564-1642) tried toconvince 
the Catholic Church some 70 years later 
that, despite the Bible, the Copernican sys- 
tem was correct he was censured and forced 
to recant his beliefs. De revolutionibits orbi- 
um coelestium was placed on the Church's 
index of forbidden books, where it stayed 
until 1835. 

It's real easy to laugh at the stupidity 
of the Catholic Church and to draw the 
superficial conclusion that certainty based 
on sacrosanct authority instead of on prac- 
tical observation, experiment and experi- 
ence is a bad thing. Going a bit deeper we 
might realize that all of us, including scien- 
tists have such unsubstantiated beliefs mas- 
querading as absolute certainty. Still deep- 
er and we might conclude that we really 
can't avoid operating on such unsubstan- 
tied belief because life is full of unproven 
assumptions. It takes a sophisticated level 
of depth to comprehend that, not only will 
folks stick to a belief no matter how convo- 
luted or absurd because it has the backing 
of some authority they respect, people are 
especially attracted to simple explanations 
over complicated ones because they often 
confound simplicity with certainty. 

William of Ockham (1285-1349) was 
an English philosopher who stated a princi- 
ple that comes down to us as Occam's Ra- 
zor. Entities should not be needlessly mul- 
tiplied. Put in plain English this means that 
the best explanation for an event or phe- 
nomenon is the one that is the simplest, 
requiring the fewest assumptions or hy- 
potheses. The simpler the better. This often 
works brilliantly with physical problems. 
When the Ptolemaic system got more and 

more complex — with epicycles within epi- 
cycles — that should have been the clue that 
it wasn't correct. Occam's Razor favored 
the Copernican system over the Ptolemaic 
precisely because of its radical simplicity. 

Occam's Razor is one of science's ba- 
sic propositions in its quest for absolute 
certainty; in its search for the simple, basic 
laws that make everything work, from the 
human mind to the cosmos. But as Heisen- 
berg's uncertainty principle cited above 
clearly demonstrates, the simple, absolute 
and certain are rarely options when you're 
dealing with subatomic reality. 

When folks checked out Isaac New- 
ton's exact 18th century mathematical laws 
of gravity, based on a large two-body, plan- 
et/moon linear modeH Henri Poincare 
(1854-1912) discovered at the beginning of 
the 20th century that adding even a third 
body, let alone an entire solar system makes 
the orbital mathematics unpredictable. The 
deterministic Newtonian equations suppos- 
edly governing a three-body svstem cannot 
be solved. They can't predict the long-term 
orbits. The three-body problem is inherent- 
ly unpredictable because the system is no 
longer linear. Each body in a three-body 
system exerts force on the other two, pro- 
ducing feedback and chaos. Kurt Godel 
developed his mathematical proof in 1931: 
In any closed mathematical system there are an 
infinite number of true theorems luhich, though 
contained in the original system, can notoe 
deduced from it. The various branches of 
mathematics, and by extension the science 
based on them, operate in part from as- 
sumptions that are not provable within 
mathematics and science itself, although 
they may be proved by logical systems 
external to mathematics and science. So- 
phisticated biologists have transcended the 
classic nature/nurture debate by modeling 
human behavior as a complex product of 
biology plus society plus the interaction 
between biology and society. Then there's 
chaos/complexity theory and quantum 

Needless to say, science has become 
considerably less certain with time. Some 
scientists are even questioning that science 
can completely know, explain and predict 
the universe. The transcendent experience 
described above does not provide the cer- 
tainty now lacking in science any more than 
it validates any one spiritual practice or 
religious dogma. It is certainly not intended 
to replace the revolutionary action needed 
to change the world. It merely demonstrates, 
to paraphrase Shakespeare, that there are 
more things in heaven and Earth than are 
dreamed of in your philosophy, Hooligan... 

This long meandering essay hasn't 
even touched on the involved relationship 
of science to society on the one hand and to 
Marxism on the other. Topics for a future 
column no doubt, though Ican't promise to 
get to it any time soon... 


ing this column for the February issue at the 
end of November, beginning of December 
thanks to distribution-imposed deadlines. 
As I write, tens of thousands of people 
delay the official Nov. 30 beginning of the 
WTO by surrounding meeting buildings 
and hotels in mass demonstrations, festive 
street parties and general civil disobedi- 
ence that the cops then try to break up with 
tear gas, batons and rubber bullets. Small, 
black-masked guerrilla bands break away 
from the main demonstrations to roam the 
city, snarl traffic, trash cars, street fight with 
cops and smash business and corporate 
windows. This is in addition to the Left's 
protest-politics-as-usual of large peaceful 
marches and rallies. The mayor and gover- 
nor declare a state of emergency, announce 
a curfew and call out the national guard as 
street action continues through the night. A 
police state enforces martial law for the 
duration of the conference in a 50-block 
area around the WTO site. Roving protests 
and demonstrations, CD and other direct 
action challenge this state-of-siege the sec- 
ond day, piling up mass, mostly nonviolent 
arrests during the day, coming back for 

E itched battles under rain and night, and 
eeping downtown Seattle thoroughly par- 
alyzed. The protests diminish somewhat 
the third and fourth days, although they are 
sufficient to keep the state of emergency in 
place until midnight Friday, six hours alter 
the WTO summit of ficially closes. Bravo! It 
warms the cockles of this old hooligan's 
heart; for those who were wild-in-the-streets 
of course, but much more for the truly 
massiveeffort to shut down the WTO which 
the police and city authorities admit took 
everybody by surprise. And the picture of 
the WTO meeting under siege, protected by 
armies of brutal cops? Priceless! If only this 
happens everywhere the WTO goes! To up- 
date an eminently updatable sixties slogan: 
Two, three, many Seattles... 
WORD... There are a number of good plac- 
es to get political literature in the Bay Area. 
Lawrence Ferlinghetti's still-hip City Lights 
(261 Columbus Ave., SF+) and the more PC 
left Modern Times (888 Valencia St., SF*t) 
have excellent new book selections. Bound 
Together (1369 Haight St., SF*) offers up 
anarchist and left communist material. My 
home town has Walden Pond (3316 Grand 
Ave., Oakland't) with an impressive used 
radical lit section. [Also worth mentioning 
is the Niebel-Proctor Marxist Library (6501 
Telegraph Ave., Oakland*).] Cody's (2454 
Telegraph Ave. / 1730 Fourth St., Berkeley t), 
at least the Telegraph Ave. one, has sections 
on Marxism, Anarchism and Labor Histo- 
ry, and lots of brand new poli-sci crap. 
Various Leninoid sects also have bookstores 
in the area, but you'll have to ferret them 
out yourself. Further north there's Powell's 
Books (1005 W, Bernside St., Portland, ORt), 
which has a halfway decent used radical lit 
section by default, and the anarchist/ul- 
traleft/au'tonomist Left Bank Books (92 Pike 
St., Seattle, WA*). Further south, there's 

Midnight Special (1318 3rd St. Promenade, 
Santa Monica't) and Groundwork Books 
(UC San Diego Student Center, La Jolla*), 
both mainstream leftist with an ecumenical 
approach carrying much more than com- 
mie propaganda. The ones marked with an 
asterisk (*) are collectively run, some since 
the 1970's. Several have become commer- 
cial successes and the dagger (+) indicates 
the ones that carry newspapers and maga- 
zines, mass market and trade paperbacks, 
etc. My favorite is Midnight Special, but 
check em all out... 

contacted My book, 
End Time, can be purchased from AK Press 
(POB 40682, SF, CA 94140-0682) for $10. 
Keep sending me your newsworthy items 
and interesting news clippings c/o MRR. 

I tend not to celebrate Valentine's Day, 
not because I don't believe in love 'n' stuff, 
bu t because I tend to eat too much chocolate 
otherwise. People think that it's all about 
love or lust, but really, it's all about the 
candy. Red boxes full of nuts and chews 
and all those fucking candy conversation 
hearts with heartfelt sentiments like, "you 
rock" and "suck my dick. " I remember back 
in grade school, when we would have to 
bring a valentine for everyone in the class so 
the dorks wouldn't feel left out. You'd save 
the least romantic ones for them and then 
seriously mull over who to give the ones 
with most suggestive sayings. Who would 
get that very special valentine, the one with 
the waterbed and red hearts all over that 
said, "How about you, me and a bottle of Har- 
vey's Bristol Cream?" Very serious matter, 
cuz if you gave a "Won't you please bee 
mine?" when you should have just given a 
"You 're neat," you might as well throw your 
prepubescent love life in the shitter. Word 
will spread like wildfire and come recess, 
you're practically married to sniffle boy or 
the girl from,specia! ed. Isn't it romantic? 

Now that we're all in the mood, let's 
talk about those very special kinds of gifts 
that some lovers give. STDs: the gift that 
keeps on giving. Not quite the warm fuzzy 
you hoped forbut one you're not likely to 
forget. The statistics are grim: STDs are 
among the most common infections that 
occur in the US today; approximately 15 
million new cases are diagnosed each year, 
two-thirds of these cases occur among 15- 
24 yr. olds; by the age of 24, one in three 
sexually active people will have contracted 
an STD; and at least 65 million people, more 

than one in five Americans, are believed to 
be infected with a viral (i.e. incurable) STD 
other than HIV, such as genital herpes, 
human papilloma virus (HPV), and /or hep- 
atitis B. 

I'm sure you've heard them all, so I'm 
just gonna run through them pretty briefly. 
For more information and/or referrals, con- 
tact your healthcare provider or local health 
dept, or call the National STD Hotline (800- 
227-8922). There'salsoagreatwebsitecalled 
Unspeakable: The naked truth about STDs 
can refer you to the nearest STD clinic in 
your area. For medical questions, appoint- 
ments and/or referrals, you can also call 
the wonderful Planned Parenthood (800- 
230-PLAN) or go to their web site (http:// 
most common bacterial STDs are Chlamy- 
dia, Gonorrhea, Syphilis, Trichomoniasis, 
and Urinary tract infections (UTIs). Com- 
mon viral STDs are Human Immnodefi- 
ciency Virus (HIV) which causes AIDS; 
Genital warts or Human Papilloma Virus 
(HPV); HepatitisB(HBV); and Herpes Sim- 
plex Virus 1 and Herpes Simplex Virus II. 
HSV-I is most often associated with cold 
sores or fever blisters about the mouth and 
lips, while HSV-II is associated with sores 
around the genital area. There is a big dif- 
ference between bacterial and viral STDs; 
namely bacterial STDs are relatively easy to 
treat with antibiotics if caught early enough, 
while viral STDs are yours for life. And then 
there are those that don't fit in either catego- 
ry but are downright creepy, no pun in- 
tended, like pubic lice (crabs) and scabies 
(itch mites). Both are transmitted through 
contact with an infected area on another 
person or through contact with infested 
materials such as sheets and towels. 

When it comes to safe sex and STDs, 
there tends to be too much focus on just HIV 
and not enough on the more common gar- 
den variety infections. But since a majority 
of STDs are also transmitted by body secre- 
tions such as semen, blood and vaginal 
fluids; preventive measures are roughly 
the same. Practice safer sex. Minimize ex- 
posure and exchange of bodily fluids; avoid 
any direct oral, anal, genital contact; limit 
number of partners; use condom every time 
(unless both partners are uninfected and 
monogamous and honest). I know, I know, 
blah blah, blah, but it's really a no-brainer. 
Symptoms can include flu-fike symptoms 
including fever, chills, and aches; swelling 
and /or pain in groin area; unusual odor or 
discharge from penis or vagina; burning or 
itching around vagina; unusual bleeding; 
pain during intercourse; increased severity 
of menstrual cramps or abnormal period; 
burning or pain during urination or bowel 
movement, and unfortunately, no symp- 
toms at all. But for fuck's sake, inspect the 
goods! Be on the look out for any unusual 
discharge, funky odors, sores, bumps, itch- 
ing or redness. Anythingyou wouldn't want 
growing in your refrigerator, you definite- 

1_J5 TT1 2m 2. 

ly don't want in your bed. 

Well, I'm gonna stop cuz I'm starting 
to get the willies. One last thing before I go, 
support your neighborhood brick and mor- 
tar stores. I'm not talking about the ones 
that push tech vests or don't allow you to 
order a small coffee. I'm talking about those 
mom and pop stores that have been there 
forever, that give biscuits to your dogs and 
don't sell your address to 
Shopping on the internet is for lazy, over- 
weight, bald folks with no clean dockers to 
wear. Don't allow those over-privileged, 
overpaid fratboys to turn the internet into 
yet another way to exploit you for profit. Go 
outside to shop and use the internet the way 
it was rightfully intended: to access free 
porn. Til next time, play hard... 

A few weeks ago MRR sent me on 
assignment to Scandinavia to report on two 
festivals. As readers may have noticed, I'm 
pretty crazy about Swedish and Finnish 
punk. The primary occasion of my visit was 
the festival at Lepakko, a legendary spot for 
punk gigs. As far as I know Lepakko was 
squatted in the early '80s and hosted many 
or the most legendary punk shows in Hels- 
inki. Finland had one of the greatest hard- 
core scenes in the early '80s with tons of 
great bands in Helsinki and nearby Tam- 
pere. Today Lepakko is more like a typical 
nightclub, but remains steeped in punk his- 
tory. Finnish cellphone corporation Nokia 
has apparently decided that it needs a big- 

fer pa rki ng lot and therefore Lepa kko must 
e demolished. However, the Helsinki 
punks decided it was necessary to throw 
one last bash before their most hallowed 
hall was leveled. The two day festival fea- 
tured one day of contemporary bands and 
a second day of mostly '80s bands. Some 
really big names from days of old were 
splashed across the flyer, Terveet Kadet, 
Riistetyet, Appendix, Kaaos, Problems and 
some ' surprise" acts. There was much spec- 
ulation that the surprise acts might be Lama 
or Rattus but that didn't turn out to be the 
case. As for the gig itself hopefully Markku's 
report and photos will also be printed in 
this issue. The Lepakko fest was pretty cool. 
There were about 500 people in attendance 
each night. Everybody seemed to be having 
a blast, and enormous amounts of alcohol 
were consumed. By the end of each night 
about 10% of the audience was passed out 
on the floor. Of the reunited bands that 
performed, some were truly inspired and 
others very sloppy. Many bands clearly 

hadn't practiced in 15 plus years and were 
too drunk to play even i f they had retained 
some of their musical skills. But old time 
Finnish punks told me that most of these 
bands were too drunk to play in their hey- 
day as well. Riistetyet were really good, 
very energetic, as was Appendix. One band 
I never really listened to before this trip but 
made a big impression live was Problems? 
who mixed equal parts Stooges, Sex Pistols 
and Stones into an energetic mix of punk 
and rock. 

Kaaos, who I really looked forward to 
seeing were laughably drunk; the bass play- 
er stumbled off arid passed out after one 
song. The crowd seemed most fired up for 
CM a who are huge in Fi nland but I'd never 
even heard before. I spent the next weed 
hanging out with the hard drinking Finnish 
punks, frequently I was the only sober per- 
son for miles around. Straight edge hasn't 
caught on very big in the Finnish punk 
scene and I don't think I met anyone who 
didn't drink, A ferry ride across the Gulf of 
Bothnia brought me to Umea, Sweden for 
Punk Fest Three at Galaxen. Sweden was a 
big contrast to the Finnish scene being much 
more Americanized. This show was also 
drug and alcohol free, the exact opposite of 
Finland's wild drunken debauchery. The 
bands here were all contemporary but Swe- 
den's music scene is one of the best any- 
where so many of the bands were world 
class in their own right. I'd have to say I 
enjoyed DS 13 the most, and I'm happy to 
announce that I'll be setting up a US tour for 
them this summer. Also mind blowing was 
Nasum who are the fastest tightest grind- 
core band I've ever seen (with the possible 
exception of Yacopsae). Skitsystem played 
a great set and I was really impressed with 
Section 8 who are one of the best SEHC 
bands around today. OK, show reviews are 
dead boring, so enough of mine. 

I've often wondered about why Scan- 
dinavian punk is so great. Here are some 
observations, Finland, Sweden, Norway, 
Denmark and Iceland are among some of the 
richest and most stable nations on earth. 
Across Scandinavia there is a high standard 
of living. Scandinavia is home to a brand of 
democratic socialism with its roots more in 
the Lutheran church than in radical class 
consciousness. There is a great emphasis on 
social equity and the state takescare of many 
things Americanspay for such as education, 
and health care. The infrastructure is for the 
most part modern and functions smoothly. 
Don't get me wrong, I'm not idealizing Scan- 
dinavia as a sort of socialist utopia, I know it 
has its problems, but compared to the Third 
World or even America, the Scandinavian 
countries are incredibly orderly, safe and 
equitable. So why the emphasis on a youth 
culture bred from discontent and rebellion? 
Well look at the rise of punk in America. 
Punk has its roots in the garage rock of the 
bored suburban teens of the '60s. In the '80s, 
when America took up the ball Britain had 
been running with, the new music was Hard- 

core. And there is no denying that hardcore 
was the youth culture of the suburban mid- 
dle class. Indeed one of the main strains of 
the hardcore youth culture has been rebel- 
lion against the sterile environment of the 
middle class suburb. For the rebel and the 
outsider of the '60s or the '80s the monoto- 
nous and antiseptic environment of the sub- 
urbs was the breeding ground of radical 
discontent. This discontent flew in the fact of 
what their parents thought was the best 
possible environment for breeding happy, 
wel-adjusted, productive children. 

So then we see in Scandinavia a repli- 
cation of the same process, a society of rela- 
tive abundance breeds a class of rebels against 
that very abundance and the dehumaniza- 
tion inherent in its replication. While kids in 
Jakarta or Medellin might have a more legit- 
imate context from which to embrace a re- 
bellious youth culture they in general do not 
have the means to put this rebellion into a 
recorded format and attain global distribu- 
tion. But this doesn't explain why Scandina- 
vian punk is so great. Living in this relative- 
ly affluent society it is easy to find time to 
learn to play an instrument and likewise 
find the means to purchase equipment and 
record. Scandinavia's punk scene early on 
was one step behind what was going on in 
England and elsewhere but as in Japan the 
sound copied from the English was improved 
upon and made into a more distinct and 
unique style of its own. Not as many foreign 
bands tour in Scandinavia as say Germany 
or England so the punk scenes there had to 
relv more on local talent, and bands (espe- 
cially in the '80s) are more likely to sing in 
the native tongue. But none of this adequate- 
ly explains why Scandinavian punk is so 
great. Perhaps the determining factor is the 
long and harsh winter. In the long, cold, 
dark winter months there is nothing better 
to do than practice, practice and practice 
until you are the best punk band on earth. 
And when the standards are consistently 
raised around vou by all the other bands that 
practice so diligently it raises the bar for 
everyone. Perhaps this is the final explana- 
tion. This woulcf conveniently also explain 
why Minneapolis has so many great punk 
bands as well. I think I am on to something. 
Now lets talk about punk in Finland. 

Finland is a nation of five million across 
the Gulf of Bothnia from most of Sweden, 
bordering on Russia in the East. The Finns 
are part of an ethno-linguistic group that is 
scattered across northern Russia and Siberia 
they are neither Slavic nor Nordic and their 
language is quite unique, only Estonian and 
Karelian are similar. In the past Finland was 
part of either the Swedish or Russian Empire 
and has been independent only in the 20th 
centurv. Today Finland is a prosperous and 
technologically advanced country. The Finns 
are quite taciturn and tend to keep to them- 
selves in public. This reflects a sort of para- 
doxical duality as Finns are also some of the 
heaviest drinkers on earth and when they 
party its total obliteration. This sort of con- 


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The Newest Youth Rebellion" CD I0HEV) 10.00 
INDEX FOR POTENTIAL SUICIDE'S debut lull length CD luses together 
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• •••••••••••DEAD NATION 

"Dead End" LP/CD (Dead Alive) 8.00/9.00 
The 3rd release from the NJ thrash attack and their best effort to date. 
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SUICIDE NATION ••••••••••< 

A RBquiem... For All Thai Ever Mattered" CD (KOTMI 9.00 
SUICIDE NATION continue their assault on the ears of the herdcore com 
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and pleading for it to lake a serious look at the downward spiral it has taken 
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fuse together, creating an honest and unsettling record. 


"Human Jerky" LP (Satan's Pimp) 7J 
This is hyper-technical/ravenous grindcore with ultra-disgusting, humanity 
crushing lyrics. Musical include DISCORDANCE AXIS, CARCASS, 
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FISTICUFFS ••••••••••••• 

"Riot Association" 7" EP (Fistfight) 3.00 
PA's FISTICUFFS lollow up their splil EP on Mothabox from 1998 with 
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• ••••••••• USURP SYNAPSE 

Self-titled 6" EP (Withing Hour) 3.50 
Five songs on a 6" record. This Indiana band unleashes 5 songs of furious, 
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PHYSICS ••••••••••••••• 

"Live: 2.7.98" CDEP(GSL) 6.00 

2 songs recorded live to DAT at the Cashed in S8n Diego Ion February 7. 
19981. PHYSICS' sound resembles, at one point or another, any combina 
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»••••• VARIOUS "Che Fest 1999 

CO (Slowdance) 9.00 
Recorded live in San Diego at Che Cafe during the inaugural Che Festival, 
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all prlcee are POSTAGE PAIS within the u.e. Tla Uth 
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order toted. onriau airmail: 3.00 for first 
Item, 2.00 each additional itan. eurfaca: 2.00 
flret Item. 1.00 each add'l. for further datalle 
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cash at your own rlskl list alternates or alse... 


P.O. Box 1179 1 * Berkeley. CA 9U712-279 1 * 

Independent Until Death! 

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SEA MONKEYS-Secret Sign CD. Long awaited 
full length from this veteran NYC punk outfit 
featuring 14 new songs plus one bonus 

track $9-00 

Also just out: SEA MONKEYS-Llve in Ape City 7" 
icture disc on Solamente Records ■■:$5 i P-P-i 

BOILING M^-Roadkill Muse^Jm 7" EP S4.00 

pfll RANCID VAT/ANTISEEN-Face Full Of Tooth split 

S3. 50 

Said Double CD plus booklet $9.50 




Most Thrilling 

..LP $9.50 CDS1O.00 

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DUKES OF HAMBURG-Bacf Side of July LP. 


DIVIDE AND CONQUER-The Need To Amputate T 
Ep $3.50 

UNSEEN. THE-So This Is Freedom CD ..■.yll.00 

WILLIAM MARTYR 17-The Celebration of Forever 
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PROBE ZINE -#8. The Bananas, Weird Love Makers, 
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HOT WATER MUSIC-Moonpies For Misfits CD. $8 00 

I GOOD CLEAN FUN-Who Shares Wins 7" EP.... $4.00 I 
DICK ARMY-Decimated 7" EP ..$3.50 I 

AUS-ROTTEN-Fuck Nazi Sympathy 7" EP.. 

ATOM AND HIS PACKAGE-Behold, I Shall Do A New 
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RANCID-I'm Not the Only One 7" EP. 

fFILTH-Live the Chaos- 7' EP $4.00 

CLAIRMEL-Fair Weather Fan LP 5.8.00/CDS10 00 

SQUIGGY-Songs About Hate, Anger And The 
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DILLINGER FOUR-This Shit is Genius CD $9.00 

SCHLONG-The Unessential Schlong CD $1000 


RANCID-Rancid City Rockers 7" 

Make all checks(US orders only) or money orders out 
to Vital Music Mailorder or be a punk and send 
cashfwell concealed). A full catalog will be sent with 
all orders or call(212-777-5021), write or e-mail for a 

one LP goes 4 ,n class. For airmail to Canada add 1 .00 
-er item or 2,00 per item tor overseas airmail 

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' Mucdorcyclev Guitar's 
J and Guilds 

Tee rage Knockouts- Japanese Murdercycks V 

-This Cleveland power liaise beings back the past to change the 
future with two former member* of the Spasms and Brandon, 
the snide and snotty singer of the almighty TKO'Sj on lead vox 
Let's just say ihcy could easily fit on a iDtfi in '77- 78 playing at 
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on the masses. Pull the pin, drop the fuckin' needle and run for 
cover .. the Teenage Knockouts are bom! ! ! 



Smogtown- Beach City Butchers 10" % 

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trast between uptight self centered reflec- 
tion and wild abandon is no doubt a result of 
the harsh environment. I've never been any- 
where where public drunkenness is so wide- 
spread and accepted. Finland's punk scene 
is much more friendly and outgoing than the 
rest of the Finnish society. All the punks I 
met were super nice and spoke very good 
English. Indeed, everyone in Scandinavia 
seems to speak pretty good English. 

However, language is one of the main 
things that has allowed for the unique devel- 
opment of Finnish punk. Since the very be- 
ginning Finland has had its own music scene 
with bands singing in Finnish and playing 
mostly for a Finnish audience. Finland re- 
mains on the periphery of Europe so is not as 
exposed to outside musical differences or 
hundreds of touring American bands. I know 
from experience or living in Minnesota that 
you get zero touring bands in the winter 
regardless and you have to rely on your own 
bands to keep the scene alive. Finland is one 
of the least Americanized scenes of any- 
where I've been. I spent two days at a gig 
attended by over 500 people each night and 
saw NO FATPANTS! Indeed, Finland's punk 
style is still very much rooted in the '80s 
punk style, mohawks, studded leathers, big 
boots. The gig at Lepakko actually reminded 
me a lot of gigs I went to at the Wilson Center 
and the Landsberg in DC in the early '80s. 
Considering there were this many totally 
drunk punks in one place I saw NO FIGHTS. 
I was told that one of the main reasons for 
Finland (and the rest of Scandinavia) having 
such a non-violent society is the harsh win- 
ter. If you are a trouble-maker who is always 
starting shit, no one will come to your aid 
when you need help in the winter. This sort 
of societal cold shoulder keeps a lot of peo- 
ple from starting stupid fights that would be 
common place in America. This said Swe- 
den has recently experienced a wave of vio- 
lence by Fascist Skinheads and other right 
wing extremists. Thishasshockedthepeace- 
ful Swedes. (It's the sort of murder, bomb- 
ings, robbery and beatings that right wing 
extremists have been doing here for years). 

Lots of punks I talked to think that the 
police have allowed the fascist right to grow 
strong by spending much of their energy in 
the last few years investigating animal rights 

There is an excellent discography book 
of Finnish punk. Suomi Punk 1977-1998, by 
Jarkko Kuivanen, is the best and most com- 
plete discography book yet published. (Yes, 
even better than the Pogographie was for 
German punk) Here is every record by every 
punk and hardcore band in Finland from 
1977 to last year with all the track listings, 
and lists of band members and what other 
bands they went on to play in. Very well laid 
out and impeccably researched this is an 
invaluable resource for fans and collectors 
of Finnish punk. I hope that other compilers 
of discographical information take note of 
this accomplishment and emulate it. Of 
course, the nook is entirely in Finnish but 

you can quickly f igu re out how to use it with 
no knowledge of Finnish. Because rock and 
roll is the universal language. 

Finland had an active punk scene from 
the very start and I point you all to the 
compilation Bloodstains Across Finland and 
its liner notes to get the scoop on the early 
period of Finnish punk. I hate to promote 
CD but the CD version of this comp has 
some additional material including a track 
by Systeemi who are in mv opinion one of 
the best early Finnish punk bands. Regard- 
less, in the 77-80 period Finland produced a 
lot of records by bands like Briard, Widows, 
Ypo-Viis, Eppu Normalli, Pelle Miljoona, 
Karanteeni, Loose Prick and Problems?. In 
those days Finland had a domestic record 
industry that was willing to release records 
by the new bands, Poko Records, Love 
Records and Johanna Records cranked out 
singles by punk bands well into the '80s. 
Once again Finland's relatively small size 
and isolation from the rest of Europe had 
promoted the growth of a relatively self 
sufficient music scene into which punk was 
inserted . The 1 iner no tes of Bloodstains across 
Finland end with "Punk sort of died in Fin- 
land in 1980/81 and the march of hundreds 
of Hardcore bands started." Well, lets hear it 
for hundreds of hardcore bands because 
that late 70s stuff is sounding pretty dated 
and Hardcore still marches on. 

Hardcore really took off in Finland in 
the early '80s. It was first brought to most 
Americans attention by this magazine and 
the Welcome to 1984 compilation. To Amer- 
icans the best known Finnish hardcore bands 
are probably the ones who appeared on this 
comp. Rattus and Terveet Kadet, but there 
are tons of other great HC bands from Fin- 
land from the 80-84 period that never really 
got much exposure outside of Finland. Most 
well known are Appendix, Riistetyt, Lama, 
Varaus, the Bastards, Kaaos, Tampere SS, 
Kansan Uutiset, and Kohu 63 but there were 
tons more (such as some of the bands listed 
on the comps below) . The most prolific hard- 
core label of the period was Propaganda 
records. Propaganda licensed its catalogue 
to the German label Rock O Rama. Rock O 
Rama is of course a dodgey Nazi label re- 
leasing things like Skrewdriver and Bohse 
Onkelz LPs but for whatever reason a lot of 
German and Finnish punk wound up being 
released on this label. I think a lot of people 
didn't know about the Nazi connections until 
much later. In any case the Rock O Rama 
pressings seemed to find their way into the 
USA a lot more often than the Propaganda 
pressings. Chris X of BCT Tapes also helped 
to expose a lot of Finnish bands in the USA 
by putting out compilation tapes of out of 
print or unavailable stuff from Finnish bands 
like Rattus. Ratcage Records of NYC re- 
leased a Rattus album and for whatever 
reason, Finnish HC was very popular in 
Brazil so there are Brazilian pressings of 
some Rattus vinyl. Outside of this stuff most 
Finnish HC wasdistributed only in Finland. 
And in such a small country pressing quan- 

tities were usually quite small. Some as low 
as one or two hundred copies. Even the best 
known bands internationally like Rattus 
were only pressing 500-1000 of each release. 
I guess this was pretty common in the early 
'80s but these are pretty limited quantities 
considering the demand even today. Which 
is why of course Finnish Hardcore from the 
early '80s is now quite popular with collec- 
tors. Since many bands remained unknown 
outside of Finland until recent years (and 
since most kids collecting records today 
weren't born yet when these records were 
knew) there has been a lot of re-issue activity 
lately. Grand Theft Audio has re-released 
some classic Rattus, several Finnish labels 
have re-issued old material on CD, Lost And 
Found got in on the act with a Kaaos CD, 
there have been bootlegs of Rattus early 
material, as well as the Hardcore 83 comp. 
and lastly Fight Records of Tampere Finland 
has done several vinyl re-issues (with more 
to come) which have been licensed for the 
USA by none other than my own Havoc 

When is this guy gonna shut up and 
talk about the records? OK here you go. My 
personal favorites from this era are Kaaos, 
Riistetyt and the Bastards, but to tell the 
truth all this old Finnish HC rules. It tends to 
be hard-driving and aggressive with really 
bi ting chainsaw guitars. There was (and still 
is) a tendency for lots of reverb on the vocals 
and sometimes in the whole mix. The drum- 
ming is sometimes all over the place but 
usually conforms to a straight ahead D-beat. 
Over all the Finnish bands were taking their 
cue more from early British Punk HC like 
Discharge, Disorder and Chaos UK, but they 
definitely cranked it up a notch just as was 
being done in America and Japan with the 
same music. The result was much harder, 
faster and more abrasive music than the 
English bands started out playing. Almost 
all the Finnish bands sang in Finnish and I 
think the language lends itself well towards 
raw and brutal hardcore, it's just difficult for 
us to sing along. There are plenty of shouted 
choruses but good luck deciphering this cra- 
zy language. This month I m already run- 
ning out of room so we'll just talk about 
compilations. As you would guess, such an 
active scene lent itself easily to compilations. 
It seems like a lot of bands were side projects 
or whatever that contained members of oth- 
er better known bands. Than again there 
were the bands that were only around long 
enough to make a comp appearance. Re- 
gardless of these factors, the comps below 
are loaded pretty heavily with well-known 
bands from the period and would be a good 

Place to start if you were interested in '80s 
innish Hardcore. Russia BombsFinland comp 
came out on Propaganda in 1982 (Pro-005) 
and featured two to five tracks each by the 
Bastards, Antikeho, Kaaos, Nato, Terveet 
Kadet, Riistetyt, 013, Maho Neistyt, Appen- 
dix, Sekunda, and Dachau. How can you go 
wrong with a line up like that? I'm told this 
was recently released on CD as well. 

Propaganda liked to release compila- 
tions to promote its bands and Hardcore 83 
was no exception. (Pro-11) This killer in- 
cluded Kansan Uutiset, Riistetyt, Jakke & 
Lateria, Aparat, Rattus, Tampere SS, Protes- 
ts Alamaailma, Kuolema, the Bastards, HIC 
Systeemi, Fucking Finland, Destruktions, 
Marionetti, Maanalainen, Sekunda, Takuu 
and Varaus. 

Finnish Spunk-Hard Beat LP came out 
on Rock O Rama records in 1984, (RRR.41) 
and this might be easy to find today because 
it was recently bootlegged under the title 
Hardcore Holocaust (Fuckin' Finland Records). 
This classic included tracks by Riistetyt, Bas- 
tards, Hie Systeemi, Kaaos, Destruktions, 
Vaurio, Poikkeustilla, Rappio, Appendix, 
Varaus, Klimax, Lahden Raivaus, Nussivat 
Nunnat, Tampere SS, 013 and Terveet Ka- 
det. A lot of these tracks appeared on other 
releases, but then again many didn't. This is 
a really greatcomp with almost all the bands 
being far above average and mostly fast 
hardcore, just a few play more mid-paced 
punk rock. 

There was one great 7" comp from this 

Eeriod Lasta-Op ST Records 1984 with songs 
v Terveet Kadet, HIC Systeemi, Riistetyt, 
Kansan Uutiset, Sekunda, Kauneus and Ter- 
veys, Poikkeustila, Bastards, Purkaus and 
Markkinointioperaatio. I'm guessing that 
since this was a 7" comp, the label asked for 
short songs and what you get are some short 
fast raw thrashers here. Once again some 
material available elsewhere but there are 
some really raw and raging tracks here. 

There was a fanzine in Finland in the 
day called Barabbas and they did a compila- 
tion LP called Yalta Hi-Life in 1984. A foldout 
poster type sleeve (but only one sided?) this 
featured Terveet Kadet, Varaus, Aparat, 
kikomissio. Three to eight songs by each 
band, so a more in-depth look than some of 
those comps with only one or two tracks by 
each band. 

I'm not too crazy about live records, 
but when Propaganda put out a live LP they 
weren't fucking around. Check out Propa- 
ganda Live (Rock O Rama RRR 42) from 1984 
with the Bastards, Poikkeustila, Terveet Ka- 
det, Lahden Raivaus, Fucking Finland, Raa- 
to, Vapaa Kalja, Varaus, Mano Neitsyt and 
Riistetyt. This is not quite a greatest hits live 
record, but pretty raging and you can imag- 
ine yourself at the gig with a bunch of kids 
passed out on the floor and lot of really 
drunk guys with mohawks thrashing 

As was the case with a lot of other great 
bands from the '80s, a large number of Finn- 
ish HC bands embraced metal and lost their 
hardcore roots in the mid to late '80s. The 
popularity of Finnish hard rockers Hanoi 
Rocks seemed to make a lot of aspiring rock 
stars take note and change to a more metal or 
glam look and sound. However, Finland 
still has some of the best bands around. 
There are a number of great bands, labels 
and zines. Check out the zine Toinen Vaihtoe- 

hto which has been going for over ten years 
with great coverage of Finnish punk and 
politics. OK, it's in Finnish, but if you are 
looking for records and distros most of the 
ads are in English. The address is T. V. /PL 1 / 
65200 Vaasa/Finland. Some great contem- 

Gorary Finnish bands to Iook out for are 
utus, Selfish, Kansandemokratia, Juggling 
Jugulars, Unkind, Agenda, Diaspora, Ohe- 
isvasara, Wasted, Totuus, Positive Nega- 
tive, Forca Macabra, and lots more. Next 
month, more Finnish HC from the '80s! 

November 10-16, 1999 Mexico City, 
Mexico-I arrived here for a four day strate- 
gy workshop/conference on the subject of 
Globalization, Migration, Militarization." 
The "Encuentro de Fronteras" was an op- 
portunity for activists on both sides of the 
U.S.-Mexico border to come together and 
discuss strategies to counter human rights 
abuses (both on the southern border with 
Mexico and Guatemala and the U.S.-Mexi- 
co border). The subtitle of the conference 
was, "a dialog between NGO's (Non-gov- 
ernmental Organizations)." Sponsored by 
diverse groups like the American Friends 
Service Committee (U.S.), National Net- 
work for Immigrant and Refugee Rights 
(U.S.), and the U.S. Advocates (US.), and in 
Mexico, many of the participant organiza- 
tions included "Sin Fronteras," "Servicio, 
Paz y Justicia" (SERPAJ), and a Mexico 
City-based EZLN support group known as 
"Red Ciudana de Apoyo a la Causa Zap- 
atista." Over 70 delegates from the U.S. and 
Mexico participated in the workshops/strat- 
egy sessions during the four days. Overall, 
the "encuentro" went extremely well, espe- 
cially since this was the first time that activ- 
ists concerned with border issues (Guate- 
mala/Mexico /U.S.) have come together and 
put forth a working document on all of 
these themes. 

The point of this encuentro was not to 
come out with "plan of action." The en- 
cuentro was first and foremost, an opportu- 
nity for NGO's to discuss the similarities 
and differences with regards to the militari- 
zation of their communities, to talk about 
how things like globalization might be re- 
lated to migration. We wanted to pose more 
questions than to actually come out with 
the "right" answers. How has the process of 
regional economic integration (e.g. NAF- 
TA) increased internal migration in Mexico 
(e.g. from rural areas to urban cities like 
Tijuana and Mexico City) and how is this 
related to "out-migration" to countries like 

the US? How different/similar is the milita- 
rization in the southern part of Mexico (e.g. 
the state of Chiapas) to the increasing mili- 
tarization of major inner cities (e.g. Oak- 
land, LA) in the US? Can we really talk 
about a Low-Intensity-Conflict (L1C) in ur- 
ban cities like Oakland, CA. in the same 
manner as in Chiapas, Mexico? Although 
one can see similarities-in terms of growing 
intermixing of local law enforcement with 
the military armed forces in both countries- 
many of the activists and comrades from 
Mexico felt that what they were experienc- 
ing was more overt state repression than in 
the U.S. Indeed, since the 1994 Zapatista 
uprising of the Zapatista Army of National 
Liberation (EZLN), throughout Mexico, the 
government has responded with replacing 
many local cops with military troops (as in 
the case in Mexico City), the police repeat- 
edly clamp down on anyone who might 
look like a "zapatista supporters" (even 
gringo sympathizers are deported), and the 
reactionary paramilitary guardias blan- 
cas" (many of these militia-types act like the 
police for local landlords) can kill anybody- 
especially if they are dark-skinned and in- 
digenous-who tights for social justice in 
Mexico with impunity. 

As activists, we were able to make 
connections in terms of the repression, but 
more importantly, in terms of our resis- 
tance against imperialist globalization and 
6 rowing militarization. My friend and col- 
ague, Timothy Dunn (author of the book 
The Militarization of the U.S.-Mexico Border, 
1978-1992: Low Intensity Conflict Doctrine 
Comes Home, 1996) ana I were asked to 
present on the theme of "militarization" to 
one part of the group. The other two groups 
("globalization" and "migration") had their 
own separate workshops. It was pretty cool 
to hang and be able to present with some- 
one whose work you admire (the organiza- 
tions that put this event do not have much 
money but they were able to pay for our 
expenses like the plain ticket and the hotel 
room). It was great to chat with Tim about 
the research that still needed to be ad- 
dressed. 1 see the importance of this aca- 
demic work in relation with the larger ques- 
tions that activists are also trying to figure 
out: What is the relationship between glo- 
balization and militarization? How are ac- 
tivists in Mexico and in the U.S. fighting 
back and resisting the neo-liberal project of 
cutting most social services while at the 
same time funding for more cops, prisons, 
and more draconian measures is on the 
rise? What do we really mean by "a bi- 
national strategy" of U.S. and Mexican ac- 

After much discussion and even con- 
tinuing political discourse late into the night 
in our hotel rooms, I got a chance to see a 
little of the city. The hotel we stayed at was 
nearthepresidentia! palace! The workshops 
took place even closer to the halls of Em- 
pire, the "Museo Nacional de las Culturas" 
was about a block from President Zedillo's 

office. What was really intense about stay- 
ing in Mexico City this whole week was the 
overt militarization of the city. The minute 
I walked out of the hotel I was staying in, I 
could see a truck full of soldiers with full- 
automatic machine guns, almost all of the 
Mexico City police wear SWAT-like uni- 
forms and ride in pick-up trucks with 
mounted machine guns in the back. Believe 
me, these cops/soldiers look fucking mean 
and I'm pretty sure they are. I didn t try to 
find out. Almost on every corner of the city 
one can see either a cop, a soldier, or a 
security guard that looks like a soldier. I 
also met some folks who hadtome from as 
far as Chiapas to the encuentro. They men- 
tioned not only mental and physical abuse 
at the hands of the authorities, but also 
"disappearances," that is to say, killings 
carried out by government or government 

I met one individual who had his 
brother "disappeared" by what appears to 
be as members of the Mexican military. 
Martin Ramon Hidalgo Perez, an activist 
fromSan Cristobal told us that a few months 
after his brother Jose had "disappeared," a 
box appeared in front of his house with 
some bones and a note that stated that if he 
continued trying to organize with commu- 
nity members, he would find all of his fam- 
ily dead. He later gave this testimony in our 
press conference on the last day of our 
encuentro. There were a lot of media there, 
including the lefMeaning La Jornada (11/ 
14/99, p. 13) who covered Hidalgo Perez' 
story in depth. Many other folks from the 
southern states of Mexico also mentioned 
major military checkpoints throughout the 
interior on Mexico. 

...Aslsithereand reflect onmy trip to 
Mexico City, I think about the discourse 
during the WORLD TERRORIST (I mean 
Trade) ORGANIZATION meetings in Se- 
attle, I think about the dozens of folks 1 met 
in Mexico. During the whole Seattle meet- 
ings (late November into early December) I 
clipped about seven dailies (major papers 
like NY Times, Wall St. journal, Washington 
Post, etc.), because I wanted to read the 
letters to the editor, the editorials, the op- 
ed's, the articles themselves. 

How will WTO and globalization be 
covered? Who will be interviewed for the 
story? Who will be left out? (I plan on doing 
a bigger story on this later). I couldn't help 
it but to think about what our comrades in 
Mexico told us when I read the op-ed by 
billionaire Bill Gates in the NY Times ("Shap- 
ing The Future In Seattle" 11/29/99, p.A- 
29) when he told us why he was co-sponsor- 
ing the "trade talks" in Seattle. "I believe 
that fair and open international trade is 
good not only for companies that depend 
on exports," wrote Gates, "it is good for the 
global economy and for opening up line of 
communication and progress throughout 
the world." Another major US newspaper, 
the Wall Street Journal, also hoped for a 
successful WTO meeting by editorializing 

against the thousands of labor, environ- 
mental, human rights, and anti-WTO 
groups who fucked shit up for a few days to 
protest this new global commerce agency, 
the WTO. "In a rich country like the US," it 
is easy to protest against things like sweat- 
shops and environmental degradation," 
stated the Wall St. Journal, "[b]ut if you are 
a Sal vadoran mother desperate to feed your 
family or a Chinese teenager with no local 
job prospects, that 'sweatshop' and 'exploi- 
tation' might look more and more like op- 
portunity^ ("Sleepless in Seattle," 11/30/ 
99, p.A-26). 

Since when does the Wall St. Journal 
care so much about Salvadorian mothers? 
Sometimes I wonder if these fuckers really 
believe what they write. Does it matter? 
Does it really matter if they believe they are 
"helping the Third World help itself"? (see: 
"Help the Third World Help Itself" by UN 
Secretary General Koffi Annan in the Wall 
St. journal, 11/29/99, p.A-28). Regardless 
of what the theoretical architects otimperi- 
alist globalization might think, it is the ef- 
fects of their system that is on trial here. 
Although I have read many studies and 
gone to many conferences on the effects of 
NAFTA on Mexican workers and peasants, 
I think it was the 1994 Zapatista uprising 
that really told the world the real effects 
that NAFTA would have on Mexico's grow- 
ing impoverished population. Sometimes 
when THEY seem so big and powerful, 1 
think that overthrowing their system is 
impossible... I think not. Yes, I still believe 
that their system can and should be done 
away with. No reforming the WTO, NAF- 
TA, or whatever the fuck new "agreements" 
they make between themselves. If their sys- 
tem is based on profits, it has to go. 

The P.AC. (Pan Africanist Congress) 
put it this way: "COMMERCE FOLLOWS 
TLER, ONE BULLET." In Seattle and in 
Mexico City, one settler, one bullet. 

V Scort &riano 

! foma LamaFb 
i Fuck\tu 

Cruising through Memphis, one of the 
first things you notice is that the city is poor. 
Not the hidden subu rban poor of Sacramen- 
to or the poverty adopted as a lifestyle by 
young punks and anarchists. In Memphis, 
the destitution is neither hidden nor chosen: 
It is in your face and institutional. The city 
has been beaten down, war torn. Crumbling 
buildings, cracked and pot-holed streets, and 
vacant dirt lots are only matched by the 
haggard state of the people. The eyes are 
tired, folds in the face deep, clothes worn. 
This is Third World America and it is Black 
and Working Poor. Abandoned by the na- 

tion and without the resources and capital to 
extract themselves from poverty, Memphis 
poor — black and white — nave futures as full 
as the boarded-up and burned-out houses 
that line the streets. 

The one industry that once offered these 
Southerners a way out, the music industry, 
has been whittled down to a few studios, 
independent labels, and a small but vital 
punk scene. Rhythm and blues which once 
provided poor blacks, and some whites, a 
path to economic self-sufficiency, has been 
replaced by hip-hop and "urban contempo- 
rary" (i.e. Black-fronted ballads for buppies 
and yuppies). Country music, once a step up 
for blacks as well as whites (Solomon Burke s 
first hits, Ray Charles' "Modern Sounds of 
Country Western," etc.), is now the domin- 
ion of white middle-class suburban cow- 
boys seeking to recreate the "California co- 
caine sound ' of the Eagles. And those streets 
that once hosted an ecstatic aesthetic are 
now tarted-up tourist traps (Beale Street) or 
busted war zones. Stax Studios provides the 
best example of the latter. 

In his excellent volume on Southern 
rhythm & blues, Sweet Soul Music, Peter 
Guralnick tells a tale of bank clerk/music 
fanatic Jim Stewart (ST) and his bank teller/ 
music fanatic sister, Estelle Axton (AX) and 
their stumblinginto creating (with such soul 
greats as RufasThomas, Chips Moman, Steve 
Cropper, Otis Redding, and dozens more) 
one of the highlights of American music. 
Guralnick recounts Stewart setting up shop 
in an old shack outside of Memphis in order 
to record what would become the two great 
bands of R&B, Booker T. & the MGs and the 
Mar-Keys. In 1959, Stewart and Axton put 
out four records of country, rockabilly, and 
r&b on the Satellite label, none of which did 
anything chart-wise. 

In 1960, Chips Moman found a theater 
on East McLemore in Memphis. The Capitol 
had its turn as a movie house, a country- 
western showcase, and a gospel church be- 
fore being abandoned. Axton found the 
owner and leased thebuilding for a hundred 
dollars a month. The main room was too big 
for Stewart's two-track recorder so they di- 
vided the room with a makeshift partition 
after ripping out the theater seats, carpeting 
the floor, and hanging home-made curtains 
from the walls. The concession stand in the 
lobby was turned into a record store, their 
main source of income until the studio took 
off. Estelle's son, Packy, Cropper, Duck 
Dunn, Chips Moman, and others stole as 
much time from their day jobs to build, play, 
record in the theater. But it wasn't until 
Rufas Thomas came onto the scene that Stax 
had something to play with. 

Tipped off by a friend that something 
interesting was happening in the old Capitol 
Theater, Thomas, one of Memphis top radio 
DJs, visited the studio and pitched Stewart 
and Axton a duet starring himself and his 
daughter, Carla. The sister and brother took 
the father and daughter up on their offer and 
the song "Cause ILove You" was cut. The 


record hit and Atlantic, Satellite's main dis- 
tributor, bought the rights to it for $1000, a 
huge sum for the new studio. The money 
was shoveled back into the business and the 
studio followed the duet with "Gee Wiz," a 
solo performance by Carla Thomas. 

Thomas's solo debut was a huge hit. 
Atlantic, who had once declined to distrib- 
ute the record, double-backed to pick "Gee 
Wiz" up. Atlantic head Jerry Wexler even 
made a trip down to the studio, a trip which 
sealed the Stax /Atlantic relationship. After 
"Gee Wiz," everything had changed. Crop- 
per and the boys were able to spend more 
and more time in the studio. Atlantic started 
sending folks down to record and eventual- 
ly soul icons such as Sam & Dave, William 
Bell, David Porter, and Isaac Hayes were to 
gravitate to the epicenter of the Memphis 
sound. As talented as the aforementioned 
might be, it was Otis Redding who defined 
Stax, bringing to r&b one of best voices ever 

Redding was not only the One in the 
minds of fans, the Stax musicians thought 
high of him, too. While many tried to duck 
out of boring session work, when Otis was 
sched u led everyone showed up. To be picked 
for a Redding session was considered an 
honor. Not because it was easy stuff. Quite 
the opposite. Otis worked your ass hard. 
Often stripped to the waist/he would con- 
duct the band by punishing the air to raise 
the horns and ripping his arms from side to 
side to pump up the band. All the while 
singing and composing on the spot. 

Not only was Otis riveting in the stu- 
dio but he was dangerous on stage. Take a 
listen to the Otis Redding side of "Live at the 
Monterey Pop Festival." It fucking explodes! 
And that was late in his career. In the midst 
of his Stax years, Otis was a fucking fireball, 
burning up the chitlin circuit from coast to 
coast. And as his popularity grew so did the 
fortunes of Stax. But after every payday the 
bills come due. For Otis it was an untimely 
death. For Stax it was Atlantic pulling out, 
stagnation and eventual disintegration. All 
that is left of the Stax legend are some bricks 
from the building sold for $50 a pop at 
Shangri-La Records, a vacant lot with a his- 
torical marker on it, a shit-load of great 
music, and, what is perhaps the most impor- 
tant lesson, an example of an inter-racially 
run music enterprise. 

Stax puts lie to the notion that "black" 
music is a black thing, that white people are 
either "too good" for it or "don t have the 
soul" to play it, depending on what racist 
notion you believe. Surely there are musics 
that come from different cultural traditions 
but they are not race exclusive. While r&b/ 
soul has its roots in the black experience, it 
was both black and white people that made 
the music. One would be as off the mark to 
deny Steve Cropper and Duck Dunn, both 
white guys, their due as they would to deny 
Otis Redding and Isaac Hayes theirs. And if 
anyone has their doubts as to the validity of 
what I write, compare both the Stax sound 

and sales in the black community with Mo- 
town, an exclusively black company (except 
for some book keepers and salesmen). Not 
only did Stax out sell Motown in the black 
community, it did so because it out-souled 
them. In fact, Motown's product was con- 
sidered to be "bleached" r&b by blacks so 
much so that the company started a label 
called Soul in order to release more "earthy" 
material, stuff like Gladys Knight, Junior 
Walker, and Shorty Long, all much better 
than most Motown acts. Stax out souled 
Motown for one reason and one reason only: 
The people at Stax just played music the way 
they felt it. While they were trying for hits, 
they weren't compromising the reeling of 
the music. Motown, on the other hand, was 
a hit machine in the most literal sense. The 
company was expert at turning outpop-soul 
designed for the market place, epecially the 
white market. They did this by having an 
unofficial hit quota system for their writers, 
encouraging formula, mixing down tracks 
onto car radio speakers so that everything 
sounded good in the place where most record 
buyers first listen to songs, sending their acts 
to charm schools, and a zillion other tricks of 
the trade. And while there is undeniably 
great songsmanship at work in Motown and 
some stellar performances, Motown of the 
60s is a sterile product of capitalistic intent 
when set next to Stax's everyday people 

Having no connection in Memphis, 
our truck is our lodging. But where to park 
and camp? In a city the choices are limited. If 
you park in a rich neighborhood or an area 
stocked with merchants, you will be told to 
move along. Take haven in a slum and you 
probably will be broken into. And then there 
is the ever-present problem of the cops. Will 
you be one of the very lucky few who pulls 
a "friendly officer"? Or will you be yanked 
out of your car, arrested for "auto theft," and 
given a beating? We ask the folks at Shangra- 
La Records where to camp and they suggest 
driving thirty miles north to Shelby State 

To get to Shelby you take the Danny 
Thomas Expressway through north Mem- 
phis and the harshest poverty I've ever seen. 
Rows and rows of boarded-up houses front 
the street. Those few that were occupied 
looked victims of fire. A few half-naked 
children played in the dirt lot front yards as 
elderlv folk' looked on. Is this some Third 
World hellhole or the United States? Nowa- 
days it is difficult to tell. I am in a pack of 
automobiles, all occupied by white people, 
all headed north, all with windows rol lea up 
though the weather dictated the opposite. 
We are an up-tight white current twisting 
through levees of black impoverishment. 
Having out-of-state plates we were advised 
to keep the windows up and the doors locked 
as the area we were in is known for carjack- 

I drop any pretext of being a cool white 
guy. My fear of blackness, of poverty, and 
my clutching to stereotypes and privilege 

are now quite apparent. A shame comes 
over me and with that shame comes white 

fuilt. With white guilt comes fear of reprisal, 
y virtue of my skin color I am The Man or 
at least his representative. Because of the 
crime of racism — institutional and situation- 
al — my race has made the reality of counter- 
attack both a reasonable and righteous op- 
tion. If I punch anther person repeatedly and 
without mercy can I not expect a counter 
attack? Is it reasonable to expect Langston 
Hughes' ."dream deferred" to "explode?" 
The white man has certainly written the 
black man (and the Latino, Indian, Asian- 
American, and most of the Third World) a 
blank check for retaliation. This in mind, I 
get the fear. 

But realizing the shitty role white peo- 
ple have played in black/white relations 
and fearing black people are two different 
things. The former is acknowledging reality. 
The Tatter is succumbing to the very racism 
I feel guilty about. Intellectually, this is no 
revelation. I'vemulled it over plenty of times, 
analyzed it down to the littlest bit of guilty 
pang and fearful tremble; yet I roll the car 
window when I am in a "dangerous" (read: 
black) area. I get antsy when a black person 
comes into the book store (Are they going to 
steal?). I tense when I walk past young black 
men. That's how I feel. How I feel. But rac- 
ism is a lot more than how white people feel: 
It is how whitepeople act. For all my white 
guilt feelings or "I am sorry, Mr. Black Guy, 
I still act the bigot. I act as a fearful white 
guy acts. And mind you, I don't own a 
television, so my racism is not fueled by 
COPS or the evening news. But I do live in 
the very white world of punk rock and was 
raised in the even whiter world of suburbia. 
A favorite neighborhood past time was carv- 
ing KKK into park benches and comparing 
favorite Nazi leaders. There was one black 
person in my life, old Mrs. Butler who lived 
across the street. I mowed her lawn once a 
week and would spend Tuesday afternoon 
drinking iced tea with her. But even then to 
me she was more than a type, an exotic and 
not a person. It wasn't until Junior High that 
I was thrown into a very integrated environ- 
ment where I had to socialize with black 
people. Yet despite the close contact, years 
of suburban conditioning lead myself and 
other whites to form our own pure race 
packs. To talk to a black person or to listen to 
r&b, soul or funk was to be branded a "nig- 
ger lover." Taking a stand to black school- 
mates was a sure way to increase popularity 
among white peers. While I wasn't so bold 
as to pick fights, I did fight back, mainly with 
mv mouth, when baited: racial lines were 
very firmly drawn and enforced by blacks, 
whites, and Chicanos. (Interestingly, Asian- 
American teens were the only racial /ethnic 
group that could associate with whomever 
they pleased without negative ramification. 
Though with the mass influx of Southeast 
Asians during the 1980s I am sure that has 
changed.) My mouth made me a target and 
was instrumental in my decision to go to an 

all-white high school in the suburbs. I have 
no doubts my racism would have deep- 
ened if not for punk rock. Political punk 
engaged my mind, focused my teen-aged 
angst and wakened the both the anarchistic 
politics passed on to me by my mother and 
the determined sense of egalitarianism and 
justice instilled in me by my father. Yet 
punk rock isn't a cure all: the snail-like 
unraveling of a racist conditioning contin- 

As we leave Memphis, rural takes 
over and with the rural comes White peo- 
ple. Perhaps there is poverty amidst this 
whiteness. If there is, it's financial poverty 
not the poverty of personal space, of a ro- 
bust environment of green. The houses here 
are spread over a couple acres teeming with 
trees and brush. The closer we get to the 
park, the thicker the vegetation. Once in the 
park we drive up hills and down valleys 
until we find a camp site. There is not much 
more light left in the day so we eat, read a 
bit, and play some thrifted r&b 45s on a 
portable record player. Soon darkness falls. 
Well, maybe not darkness. The moon's light 
twists around tree branches and turns the 
leaves a hazy gray. With the moon comes 
looming shadows and flashes of light near 
and far. I sit up and look into the naze. Is 
that light moving? I think it is moving! Is it 
coming closer? Fuck, I have to piss. What's 
that sound? What's... I hear a gun shot. 
Maybe somebody is hunting. But what are 
they hunting for? Ned Beatty nits my mind's 
eye. There are shadows moving to the left of 
the truck. Branch crackle under the weight 
of something. I lay down and pull the sleep- 
ing bag over my head. If I am going to die at 
the hands of some hick, I don't want to see 
it coming. I doze off only to be wakened by 
my imagination. The more anxious I get the 
more I have to piss. The more I have to piss 
the more time I spend looking out the win- 
dow to see if all is clear. Shadows move, 
flashlights flicker and I become more anx- 

Do not send me playlists, tour sched- 
ule, and other marketing junk. Personal 
letters are a-ok. Scott Soriano, 1114 21st 
Street, Sacramento CA 95814 USA e-mail: 


and counting 

A column by 

-I'm writing from Corcoran State Pris- 
on, one of the so-called "worst prisons in 
America." I'm a 28 year-old Native Ameri- 
can, my tribes are Moivo and Chukchansi 

Indians from Northfork and Coarsegold 
California, in the foothills above Fresno. 
Here the Indians are a minority. We're al- 
lowed to attend sweat lodge ceremonies 
and have two "Pow-wows ' a year with 
family. ALso we can have feathers and beads, 
drums. We have a big library of Indian 
history books. It's not bad here for us. 

About a year ago everyone in CDC 
had to cut their hair and shave their beards, 
including Muslims, who traditionally wear 
beards. Some Indianprisoners cut their hair, 
some refused and lost all privileges. No 
phone calls, no family visits, no packages. 

I've been reading MaximumRocknroll 
since 1 was 13.1 come from the Fresno scene. 
Shooting crank and robbing has been my 
downfall, I got 18 years this time. 2003 I 

Jiarole. In the 80's I went to a lot of shows: 
ocal bands, the mighty Capitol Punish- 
ment, Harsh Reality and bands like Raw 
Power from Italy, Think Tank, Wasted 
Youth, Iconoclast, Final Conflict — the list 
goes on. In Fresno, we had shows all the 
time in the 80's: The Vicious Bunnies, the 
Boneless Ones, Nazi Bitch & the Jews, etc. 
My friend Dale Stewart owned a 
record store called Stage Dive Records. I 
hung out there. His band was Capitol Pun- 
ishment. Dale took me and my friend Felix 
to some of my first shows in his old station 
wagon. I heard a lot of bands for the first 
time in his shop, bought 45 records there: 
DOA, Killing Joke, the Cash Pussies, Mo- 
torhead, Special Forces Records, Mystic 
Samplers, old Butthole Surfers, Wendy O 
Williams picture disks and heard a lot or the 
old punk there. Dale's shop was cool. Fuck 
Ups records on the wall and an old Hawk- 
wind poster come to mind. 

I've been locked up for years now. 
CYA from 15 to 18 and from 18 to 28 in the 
California prison system. This is my fourth 
time in prison. There's a lot of punks in 
prisons. We can have CDs and tapes here, 
plus TVs in the cell. So it's not baa. I've got 
a gang of CDs: Poison Idea, Bad Brains, 
MC5, MDC, the Stooges, Candy Snatchers. 
I listen to a lot of different music. If there's 
anyone interested in Native American his- 
tory, write. I'd like to hear from any Native 
American punks. I've only met a couple. 
Don't let 60 Minutes scare you! Ha-ha. The 
guards here killed a lot of people over fist 
fights. How can someone justify shooting a 
man with a Mini 1 4 or 9mm over a fist fight? 
The guards staged "Gladiator Fights,' bet 
money and shot down prisoners in cold 
blood! That's Corcoran, though. Home of 
Charles Manson, A Kennedy assassin and 
Juan Corona, killer of 40 migrant farm work- 
ers — he didn't want to pay them. 

Corcoran really isn't bad. Thanks to 
Shane Williams for the GG Allin and the 
Jabbers Tape! Thanks to Dale Stewart for 
taking me and Felix to that Vandals show in 
1985. And to El Duce for the Mentors show 
in Fresno. R.I. P. 

To contact: Chris Hutchins / E-51151 
/ 3B04-249 low / PO Box 3466 / Corcoran, 

CA 93212-3466 

PS. The Bad Brains are a must for the 
"Pioneers of Punk"! And Dr. Know! Poison 
Idea! Rik L. Rik! And Septic Death! 

Does anyone know what's up with 
the GG book, 7 Was a Murder junkie; 

Come on in and pull up a seat. I hope 
you weren't planning on doing anything 
too productive with the next fifteen or how- 
ever minutes it is going to take you to read 
this. (Yeah, like what I've got to say is really 

toing to change your lives for the better. I 
on't think so.) Instead of the usual downer 
pep rally for those looking to do it them- 
selves (a.k.a. busting your ass while being 
paranoid that the creeps will take it all), I'm 
going to spout off about what I like best: 
music. You see, I need a reprieve 'cus doing 
"business" sucks and I would much rather 
listen to and talk about the bands and their 
music. This time around I will be covering 
the more "arty" and "experimental" fringe 
elements of the late '70s\early '80s punk 
scene just like the last time I dedicated my 
column to nothing but music awhile back. I 
will purposely avoiding mention of any 
groups I ve released stuff from in an effort 
to keep the self-promotional cheezzz factor 
to a minimum even though I would love to 
prattle on endlessly about them. (Hey, I'm 
)ust trying hard not to appear sleazy and 
self-absorbed, babe.) 

So you're probably wondering why 
you should even give two shits about less 
beaten path sounding groups like Joy Divi- 
sion, Killing Joke, Siouxie, and Gang of 
Four. It is because they were highly original 
and extremely influential upon the history 
of punkand underground rock. While some 
of the neanderthalhardsnores who learned 
about how to be punk by seeing The Decline 
of Western Civilization and watching Qtiincy 
and Chips had a problem with any bands 
that did not fit into their restrictive 1-2 fuck 
you slam dance mold of what they consid- 
ered to be punk; many of the original 
slash'n'burn, out-of-control Huntington 
Beach party thugs were even groovin' to 
the likes of Public Image, Birthday Party, 
and Gang of Four. 

In fact, members of more musically 
straight forward groups would commonly 
join up with more "arty" bands and vice 
versa, such as Bags, Gun Club, Lewd, Green 
On Red, Seditionaries, Kommunity FK, 
Germs, Nervous Gender, and so on. Some 
of the reasons behind them joining these 
artier groups wereso that they could stretch 

their musical boundaries by playing more 
than just three-chord, slam-ready blitzes 
and to escape from the wholesale violence 
that was taking over the more straight ahead 
punk scenes in certain places, mainly around 
the U.S. and UK. (I know that this last 
reason might seem hard to swallow for 
some of the younger punk audience cur- 
rently out there, but during the very tail end 
of the 70s on into the '80s, the levels of 
random, chaotic violence and hostility got 
mega intense at some shows and within 
certain band fallowings around SoCal and 
other places. The '90s, by comparison, have 
been on great big love-in.) In this environ- 
ment of anything goes, far more groups 
were interested in experimentation instead 
of fitting into a formulated genre as tight as 
a gnat's shitter. Now, with the advent of 
"underground" and "alternative" groups 
gettingsigned in record numbers (they also 
go dumped en masse), too many "punk" 
musicians are worried about appealing to 
specific, narrow listener demographics in- 
stead of giving convention the finger. With- 
out further wherefores and whys, let us 
take a look at some of my fave arty-facts 
that these damaged freaks left behind. 

Tuxedomoon 12" EP - Oh, the rumors 
ran rampant of this San Francisco group 
being grievous smack pricklers and it 
wouldn't have come as a great shock if it 
had been true listening to these four moody 
tracks from 1978. Bowie was a very big 
influence on the early punks and especially 
the deathrockers (most of all) and art dam- 
age crowd, therefore it is befitting that the 
first track, "New Machine," should have a 
vein of his influence running through it. 
The second track, an artsy, non-punk in- 
strumental called "Litebulb Overkill" is the 
least driven, most subdued track on here 
and is pretty much in the Residents' territo- 
ry. (Tuxedomoon would later go on to work 
with Ralph Records, The Residents' home 
label.) On the reverse side, the old Cole 
Porter standard, "Nite and Day," gets the 
dark, moody TM treatment. This time, the 
best is saved for last as "No Tears" is one of 
the greatest (albeit obscure) art punk rock- 
ers ever put to wax, with its driving beat 
and desperate, freakish voca Is. Even power 
pop punker Mark Arnold of Big Drill Car 
and All Systems Go used to cover this song 
with his old art punk group Raw Material. 
TM would go onto release many more 
records which would forsake their punk 
edge in favor of bizarreness and gain a 
sizable cult following in Europe where arti- 
ness was embraced far more than stateside. 
The lineup for this 12" features Mikel Belfer 
of The Sleepers, another one of the Bay 
Area's early art punk damage groups. No 
listing of a record label exists on the jacket 
or center label. 

Dead Hippie, "Living Dead" LP (Pulse 
Records, 1983) - A somewhat varied mixed 
bag from this very original group formed in 
the San Gabriel Valley area of Los Angeles 
sometime around 78 or 79 (the ex-member 

I spoke with, who did not appear on this 
album, seemed a little vague on exact dates). 
I refer to it as a mixed bag because while, as 
a whole, some might want to pigeonhole it 
as death rock, there is definitely a bit more 
going on here which keeps it from fitting 
into one tight spot or another. A couple 
songs on here do slip snuggly into death 
rock mode, while a few ride the then-cur- 
rent tide of not-so-fast '81 So. Cal. thrash 
(before bands started commonly playing at 
blinding speed). Still more 'standard" 
(though nothing is very "standard" on this 
LP) late '60s psychedelic acid rock influenc- 
es seep inon other tracks and the last cut has 
a definite Bowie/Mott the Hoople glammy 
feel, although in a twisted kinda way that 
only sounds like Dead Hippie. On the other 
hand, frontman Simon's unique signature 
vocals remain the same throughout, kinda 
strange and maybe ghostly (?), though ulti- 
mately hard to describe and might get on a 
few people's nerves. I would say that the 
vocals really help to make this LP stand out 
and work especially well on the more eerie 

Mnemonic Devices, "Playing on the 
Dark Keys" 12" EP (Bemisbrain Records, 
1982) - By far, one of the more uniquegroups 
to bubble up from the early Orange County, 
California underground, M.D. created a 
dark sound somewhere between Siouxie 
and Roxy Music. The overall mood of the 
album is somber as vocalist Ann De Jarnett 
sings out sour lines like "Love is just anoth- 
er sick venereal disease" in her dissatisfied 
tone. Arrangement-wise, this was far more 
accomplished than your average punk rock 
at the time and could very well be part of the 
reason many would argue why this isn't 
very punk, to which I'd respond, "So? Big 
whoopie." I could see this potentially ap- 
pealing to listeners of moody post punk, 
death rockers, and a few more open-mind- 
ed early LA. punkers/enthusiasts of that 
punk music time period. Speaking of which, 
in that last sentence, one Geofry Kaa, rela- 
tive of The Crowd's Jim Kaa, played guitar 
and the band was sometimes joined by Jim 
as well, though not on vinyl. On an interest- 
ing side note, Bemisbrain released a lot of 
other cool groups such as The Strong, Silent 
Types, Super Heroines, Red Beret, etc. be- 
fore becoming Enigma Records and going 
under in '85 as Enigma/Greenworld Distri- 
bution in a cruddy bankruptcy from which 
Restless Records arose. 

I'm So Hollow, "Emotion/Sound/ 
Motion" LP (Illuminated Records, 1981) - 
like many old groups from the U.K., they 
could be described as punk wave in that 
while this Sheffield band did display some 
wavy tendencies, there were far more heavy, 
dark, mood-inducing post punk elements 
than the head-bobbing tennieboppers were 
willing to tolerate. No d oubt that this would 
probably appeal to folks into Joy Division, 
early Ultravox, and Skids, as it does have its 
share of catchy semi-pop hooks, though not 
in the ordinary, happy sing-a-long way 

people usually think of pop hooks. Sonny 
from Bottlenekk/GSL/Exvss really liked 
this record when I taped it for him, so that 
may or may not tell you something. 

Well, that's about all the time I have to 
go on about these records for now as it is 
nearing the end of the year and I have some 
label stuff to tie up before then. I'll leave 
you off with a few more early groups to 
check out if you are so inclined: Peyr (Ice- 
land). Xmal Deutschland (Germany). Clock 
DVA (UK), Mission of Burma (Boston), 
Mydolls (Texas), UK Decay (UK), Teenage 
Jesus (New York), Crispy Ambulance (UK), 
Crawling Chaos (UK), Scars (UK), DA (Chi-' 
cago), Au Pairs (UK), Flowers (UK), DNA 
(New York), Theatre of Hate (UK), Fall 
(UK), MDK (Germany), Monitor (Los An- 
geles), (early) Mekons (UK), (early) Dream 
Syndicate (Los Angeles). 

Oh, by the way, ex-members of Catch 
22, Signals, Saigon, Urban Gorillas (So. Cal.), 
Mydolls, Plastic Idols (TX), and Scars (Scot- 
land) should get in touch with me. 

That's all. Toddles... Brian GTA, 501 
W. Glenoaks Blvd. Ste. 313, Glendale, CA 
91202, USA 


As they often did, THE CLASH said it 
best: "Know your rights." Going back to the 
earliest days of punk, musicians and song- 
writers have had to defend those rights the 
old-fashioned way: by filing a lawsuit. 

Like it or not (and I don't), we live in 
a capitalist society. Under capitalism, the 
only way you can defend yourself from 
assholes who are trying to rip you off is to 
take the bastards to court. Johnny Lydon of 
the SEX PISTOLS battled his former man- 
ager and record label in British courts for 
years because they'd hardly paid him any 
of the royalties he was due. Members of the 
DEAD KENNEDYS have fought over 
whether or not the band's songs ought to be 
licensed to companies that want to use them 
in commercials. And countless other punk 
bands over the twentysomething years that 
punk as we know it came to be have sued 
over unpaid royalties, shitty recordings, 
and crappy distribution. 

Unfortunately, there are some con- 
fused punks out there who think that law- 
yers, courts, lawsuits, all that shit, isn't punk 
rock. They equate anarchy with lawless- 
ness, and don't understand that until the 
revolution, the law is often the best — fuck 
that, the ONLY — friend of those of us who 
want to fight for a better society. 

Obviously it's better to settle your 

differences, with other people or even with 
companies, with conversation rather than 
litigation. But sometimes people fuck you 
over, even to the point of breaking the law, 
and they refuse to back down even when 
you threaten them with being sued. When 
that happens, you have a choice: You can 
accept the abuse, or you can do what you 
said you were going to do. 

That's what I'm going through now. 
As a writer and a cartoonist, I wrote a 
long piece for the Village Voice, which is the 
big altie weekly in New York, about Art 
Spiegelman, the cartoonist who wrote the 
Holocaust comic Maus. In my piece, I took 
on Spiegelman as a sacred cow whose work 
is incredibly overrated (he does those stu- 
pid covers for The Neio Yorker) and who 
controls who gets to work as a cartoonist in 
New York. It was a very controversial piece, 
but it did what I'd hoped: It caused people 
to question the status quo and to consider 
what cartoon art is and should be about. 

Shortly thereafter, a guy I'd never 
heard of, Danny Hellman (a right-wing il- 
lustrator who works for the wacko libertar- 
ian rag NYPress, the Clintonian Brill's Con- 
tent and the porno mag Screzv) reacted to 
my piece. He sent out a massive spam e- 
maif to a bunch of my editors and fellow 
cartoonists— UNDER MY NAME! The e- 
mail, signed "Ted Rail," was deliberately 
intended to look like mine and to make me 
look like an arrogant asshole to other car- 
toonists and to people I sell my cartoons to. 
Needless to say, I was shocked, but I react- 
ed quickly by sending out an e-mail to as 
many of those people as I could find telling 
them that Danny's e-mail had been an im- 

It took a few days to figure out that it 
was Danny Hellman; Tie had done this kind 
of thing before in the past. When I confront- 
ed him, he essentially told me to fuck my- 
self and proceeded to offer $500 to anyone 
willing to vandalize my car, and then later 
$500 to anyone willing to puke on me. Up 
until this point, I figured I was dealing witn 
a nut, but then he put the icing on the cake — 
he stated that if I appeared anywhere in 
public (at say, a book signing or a party or 
a concert) I'd end up murdered. 

One of the problems of being a car- 
toonist in a country that doesn't value the 
arts is that a lot of papers will print your 
cartoon without paying you for it. If every- 
one does this, you're working for free, and 
no one should work for free, period. When- 
ever I discover that a publication has done 
this to me, I pick up my phone, call my 
lawyer and have him send out a "cease- 
and-desist" letter, which says to stop pull- 
ing the shit, pay for the cartoon or get sued 
on such-and-such date. I have done this 
dozens of times, and in every instance it 
works — I get paid, and nobody gets sued. 

So in August I sent a cease-and-desist 
to Hellman. In my letter I asked him for a 
complete list of the people to whom he'd 
sent the prank, to stop talking about me in 

any public forum, to send out an apology 
and retraction and to contact my lawyer 
about paying my damages for screwing up 
my relationship with editors and colleagues. 
He refused to give me the list (it turned out 
months later that he doesn't know all the 
places he sent his spam!), sent out a terse, 
angry retraction to a few of the recipients 
and didn't bother to call me to apologize or 
offer any money. So when my deadline 
rolled around, I sued him: for libel, slander, 
defamation of character and intentional in- 
fliction of emotional distress. Danny asked 
for the suit to be dismissed, but the judge 
said that it was valid and" sustained all the 
counts against him. 

Amazingly, Danny's right-wing 
friends rallied around him immediately, 
portraying me in Web discussion groups 
and articles about the case as a humorless 
bully who couldn't take a joke. (Hey, I can 
take a joke, but this was no joke — this was 
an attempt to silence me for writing some- 
thing with which Hellman disagreed, just 
like some Iranian mullah issuing afatwa.) 
His pal Sam Henderson, another NY Press 
cartoonist, posted my home phone number 
and address to the Web and suggested that 
people harass my wife and I at home. They 
did; I still get death threats every day. An- 
other Hellman friend, Los Angeles cartoon- 
ist Tony Millionaire, threatened to "beat the 
shit out of that little cunt Ted Rail." 

They built a "Free Dirty Danny" web- 
site that Red-baited me for being a Marxist, 
sold "Free Dirty Danny" T-shirts and even 
organized a "Free Dirty Danny" benefit 
concert in New York featuring wussy main- 
stream indierock losers SOUL COUGH- 
ING and even fellow MRR columnist 
George Tabb's band FURIOUS GEORGE! 
That FURIOUS GEORGE would agree 
to play to defend this right-wing asshole 
impersonator Danny Hellman simply dev- 
astated me. I'd considered George a friend; 
we'd had beers together and his wife Wendy 
was friends with my wife Judy. I can't imag- 
ine that he was so desperate for the expo- 
sure that he needed trie gig, so what the 
fuck? Maybe he was fooled by Danny's 
argument that his fake e-mail was a form of 
satire, and that he was some kind of bizarro 
First Amendment hero. But anything worth 
saying is worth saying UNDER YOUR 
OWnNAME, not someone else's, and in 
any event, it was my First Amendment 
right to criticize Art Spiegelman that so 
pissed off Danny that it caused him to try to 
destroy my cartooning career in the first 
place. Danny Hellman is the ultimate fas- 
cist censor, a guy who hassles you simply 
for expressing your Constitutionally-pro- 
tected opinion. 

Of course, there's also a NY Press con- 
nection with George Tabb; he writes for 
them very frequently. Maybe he thought 
that Danny's prank was "punk rock," but 
there's nothing "punk rock" about censor- 
ing a journalist — which was the point of the 
prank. Or maybe George believed Danny's 

sob stories about being too poor to afford 
his legal bills — more patent bullshit, given 
that Pm not rich either and that Danny 
spent a few weeks during the legal bullshit 
vacationing in Italy. Either way, FURIOUS 
GEORGE was seriously misledand used by 
a cynical bully, and I'm sorry it happened — 
I certainly prefer to believe that than to 
think that they intentionally backed up such 
a goon. 

So what's the point of all this? Some- 
times you have to use the courts to defend 
yourself from a bully, and when you do 
you'll likely catch a lot of shit from people 
who can't imagine what it's like to be at- 
tacked without provocation by someone 
who dislikes your politics. You can feel 
very alone when you're fighting assholes, 
because assholes are often popular. But if 
you know what you're doing is right, you 
have to stick with it until the end — and 
THAT is very punk rock. 

Mail goes to: Ted Rail, PO Box 2092, 
Times Square Station, Neiv York NY 10108, e- 
mail to: 

"Steady Diet of Hate" 

The fucking WRETCHEDONEShave 
come out with another brilliant release! This 
time out, the oi! veterans from New Jersey 
hammer you with thirteen tracks on the 
"We Don't Belong To Nobody" CDon Head- 
ache Records. This mother' fucker contin- 
ues one of the longest running oi stories 
ever told. THE WRETCHED ONES pound 
on your brain right from the onset with 
"Overtime" - a working class anthem. You 
probably heard "Welcome to the EastCoast" 
on the 'East Coast of Oi" various artists 
compilation a coupleof months back. Great! 
The song "Drinking Beer and Rock and 
Roll" covers the WRETCHED ONES two 
favorite pastimes. In "Leave the Old Man 
about respect for a man who gave his all: 
"He's been retired since '84/ Still wears his 
work uniform./ Leave the old man alone./ 
He went so we don't have to. / Leave the old 
man alone./ He fought for our country, 
they drafted him when he was eighteen./ 
Made him into a young marine./ Resting in 
hiseasy chair- it tookalifetimetogetthere./ 
'Move faster, get out of the way,' / That's 
what the young folks say. / They don't know 
what he's done for them./ Gave them life 
and freedom." 

In the title track "We Don't Belong to 

Nobody", THE WRETCHED ONES sing: 
"We don't belong to nobody- nobody. No- 
body really understands./ But every day 
they tell us what to play./ What to do to go 
far./ But we don't care- that's nowhere./ 
We'll never be rock stars." In "Dead Man 
Working" THE WRETCHEDONESputinto 
words the most sincere thoughts about 
working hard your entire life: You reach 
that point where you got no choice. / You're 
just another number and you got no voice. / 
What you used to call your job is now your 
career. / Days tick by, so do weeks, months 
and years./ Now I'm dead man working./ 
My youth is long gone, but my bills are still 
here./ I'll be plugging away for many 
years. / But at least Ynave a sense of pride. / 
Making ends meet until the day I die./ So 
your body falls apart, that's part of the 
deal./ If you want nice things and three 
square meals./ No need to be bitter, no 
need to be cold./ It's part of life./ It hap- 
pens when you're old. Those are very seri- 
ous lyrics! THE WRETCHED ONES have a 
firm grasp on the day to day challenges of 
hard work and growing old in this blue 
collar society. 

A great album! Get it now! Headache 
Records, P.O. Box 204, Midland Park, NJ 

THE BLOODY SODS have a brutal, 
tough, hardcore punk record for you on 
Mad Skull Records from Amsterdam, Hol- 
land. This raw fucker is called "Hate of 
Mind" and the EP starts off brawling with 
"Win or Lose". This collides with "Wnatthe 
Fuck" and the third blow to the head "Hate 
of Mind". This EP has gruff shouted vocals, 
fast guitars and drums and is brimming 
with violent enthusiasm! 

Look for a Mad Skull release by Geor- 
gia's TERMINUS CITY in the very near 
future. TERMINUSCITY is one of the stron- 
gest street rockbands down south, up north 
or any other fucking place! 

GMM Records has some really good 
prod uct for you punks and skins this month. 
The much anticipated full length CD from 
the MAIN STREET SAINTS is out now. 
This CD is entitled: "Everybody Wants to 
Go to Heaven.. .But Nobody Wants to Die". 
This fucking CD has some rock n oi! music. 
The song "Johnny Bomb" is familiar to you 
who own the MAIN STREET SAINTS EP's 
"The Story of Johnny Bomb", that ends 
badly "When the task force came they of- 
fered Johnny life spent in a cell. ..Johnny 
chose a grave." The song "Glory" has great 
oi! momentum: "Oi! Oi! Oi! We re Shouting 
Glory". In "Main Street" the MAIN STREET 
PREACHERS sing: "I live by the sword and 
I die by the sword. / I live by the sewer and 
Idiebythesword./Soburymeon the Main 
Street, where all the kids can see me./ Lay 
me down in K.C., it belongs to me." The 
MAIN STREET SAINTS perform some top 
quality street rock on this CD. Have a listen 
to "Land of Our Own": "Its happening 
again, we tear down the walls and they've 
built them up again./ They've built a wall 

around us to keep us where they need us./ 
We float their bloated system,butthey don't 
want us to live by them./ We all got our 
jobs, we're happy in this cesspool./ We 
don't need to get out./ Take some pride in 
where you live./ Do the best you can and 
tear down the walls again." 

"The Prize" celebrates skinhead pride 
and you can almost hear the clanking of 
raised beer glasses with the lads singing 
along on the choruses. THE MAIN STREET 
SAINTS do a great cover of the old country 
working man's song "Sixteen Tons" by 
MERLE TRAVIS. In "American Upstart 
Skin" the MAIN STREETSAINTSstand tall 
for the American laborer. "Some people 
want you to stay in your place. /Lookdown 
their nose at a dirty face./ You work for a 
living. / They think your dumb. / They grab 
all they can, you can't get none./ Working 
real hard, breakin' our backs, while some 
rich motherfucker gets breaks on tax./ I'm 
an American upstart skin./ I've got scars 
and blisters on my hands...." 

version of COCK SPARRERS' "England 
Belong to Me" which they have changed to 
"KC Belongs to Me" . A very good CD which 
you need to investigate immediately. 

Next up on the charts for GMM is THE 
SERVICE from Milwaukee Wisconsin. THE 
SERVICE'S CD "Who's Criminal" has 15 
tracks of up-tempo melodic punk with good 
guitar sound and dramatic vocals and fully 
developed choruses. This is a change of 
pace from many GMM releases with music 
more in common with NAKED RAYGUN 
than THE ANTI-HEROS. "Who's Crimi- 
nal" has lots of hooks and well crafted 

The last GMM CD we will cover this 
month will be THE CASUALTIES "For the 
Punx" CD. This recent addition to the ex- 
tensive casualties catalog is more high cal- 
iber pogo-punk. THE CASUALTIES have 
been preaching to the converted for many 
years. Last month's Punk-Core release "The 
Early Years" showed how the THE CASU- 
ALTIES won their legions of fans. 

New Blood Records, those fine gents 
who brought you GUNDOG, have a new 
entry in the oi! wars. New Blood #03 is 
VIOLENT AFFRAY from Sheffield with 
their rough and ready EP "Let's 'Av It". 
Side A starts off at a hu ndred miles per hour 
with "Smash the State" and continues with 
a thorough indictment of the neighbor- 
hood "Paedophile" - tried, convicted and 
ready for execution. Side B begins with 
"Hooligan" which is more tasteful melodic 
oi!. The guitars churn along with strong 
vocals and harmonies. In "Hooligan" VIO- 
LENT AFFRAY sing " Hooligan ya think it's 
fun, but you've never seen the damage that 
you've done." Song number four on the 
''Let's 'Av It" EP is "Cut the Crap" which 
questions the futile struggle to get ahead in 
working class society: "English man's 
home,/ They say it's his castle,/ But it ain't 
yours, the rent goes to the council./ You're 

saving up, watching all your pennys - 
dreaming . / Is it really worth it?/ Is it really 
you?/ Is it really worth it, will your dreams 
come true?" 

A very good record. Order from: "New 
Blood Records, PO Box 52, Gravesend, DA 
11 9ZL, England. 

Captain Oi! has a couple of new re- 
leases for you punks who wanna complete 
your collection of English punk and oi!. The 
first selection is THE 4- SKINS "Singles and 
Rarities" with a nice overview of wnat was 
certainly one of the most influential skin- 
head bands that ever walked the planet. 
Listen 'to "Yesterday's Heroes" or "One 
Law for Them". The songs are as poignant 
and gripping as if they were written last 
week. The liner notes are extensive and 
informative. Thisisamusthavefor4 SKINS 

The next important addition for your 
retro British punk collection is a split CD 
INSANE formed in Wigan in 1979. By 1981, 
THE INSANE had release The Riot City #3 
single "Politics" and were playing major 
punk venues. BLITZKRIEG also formed in 
1979 in Southport, Merseyside. In 1981, 
BLITZKRIEG inked a deal for the "Lest We 
Forget" single on No Future Records. Both 
have stood the test of time. This is an impor- 
tant addition to your chronological history 
of British punk. 

Josh and Upstart Productions from 
New Jersey has a new release that will 
impress you skins and punks. It's out now! 
MAJOR ACCIDENT'S latest 7" on colored 
vinyl -extremely limited (300 pressed) with 
a pin included . This raises the stakes a notch 
after MAJOR ACCIDENT'S release on GMM 
several months ago. Upstart Productions 
will soon be releasing a collection of the 
classic French punk band KIDNAP - gath- 
ering all their tracks from 1979-1985 and 
including eleven unreleased studio demo 
tracks. For a large list of foreign and ob- 
scure street punk and oi write to Upstart 
Productions, 65a West Madison Avenue 
#254, Dumont, NJ 07628. 

Pogo 77 Records has two new entries 
in the pogo punk parade. The first fun- 
packed punk explosion isTHESHITFACED 
punking out with "Fightforyour Purpose". 
The pogo-rockin' stance continues with 
"Dirty Society". Flip her over and ya got 
"What Are Pals Anyway" and "My Baby is 
Gone". All pogo, all punk, all fast, all fun! 

Number two for you pogo punks is 
POGO MACHINE with their "I Want to 
Kick Your Shin" EP. This is high pitched 
fasttempo punk rockas if THE RANDUMBS 
went to Japan and sung an octave higher. 
This pogo pageant begins with "Shit, Shit 
Fuckm' Shit" and screams right through 
"Beer Kids", "Teenage Punk , Pogo and 
Laugh" an "I Want to Kick Your Shin" 
(Great song title!). If you are a fan of DIS- 
better listen to this. 

On the hardcore front we have BRO- 
KEN and A GLOBAL THREAT thrashing 
about on a very brutish split EP. BROKEN 
comes out swinging with Mr. Jim Martin 
singing like a man possessed on "Life Un- 
derWhose Control? ' This is extremely hard- 
edged punk recommended for you hard- 
core punks. In "Wage Slave". BROKEN 
sing: "Wage slave - No way!/ You keep 
your nowhere job because it keeps you 
alive./ We all have to work, it's a fact./ But 
you can do better than that./ Wage slave, 
no way!/ Start calling the shots, maybe 
you'll get to the top." Powerful shit! Good 
advice foY working men and women! 

es your world with raucous hardcore. In 
"The Power", A GLOBAL THREAT sings: 
"What makes you more important than 
me?/ A uniform is all I can see. /They gave 
you a gun, you're not just a citizen. / You've 
killed oefore, you'll do it again./ I'm not 
afraid of you./ What makes you want to 
fight for them?...." This is another fine re- 
lease by A GLOBAL THREAT. 

TOE TO TOE the hardcore punk kings 
of Australia have two scorching releases for 
you punks! The Custom/Shock label has 
released a four song mini-cd (just to whet 
your appetite) called "Slave". This kicks 
ass! Now you are prepared for the fourteen 
song onslaught that will burn your ears off: 
on the full length TOE TO TOE Custom/ 
Shock CD "Consolidated". Listen to the 
raw force on "For Life". This shit'll melt 
your speakers. "Steady Diet Of Hate" con- 
veys the message quite clearly. Listen to 
"Test of Time". Great! This is extremely 
rough hardcore from Newton, New South 
Wales and you see once more that Austra- 
lian hardcore plays for keeps! 

Outsider Records has a killer compi- 
lation for you called "Scene Killer Vol. 2". 
This fucker starts out with one of Canada's 
top oi! bands SUBWAY THUGS doing 
"The Meddler". The hits just keep coming. 
RORS, CLIT 45, the great HUDSON FAL- 
Whew! What a comp.! Get this now! Write 
to Outsider Records, PO Box 92708, Long 
Beach, CA 90809. 

Deadbeat Records presents a new 10" 
record from SMOGTOWN. This little gem 
is called "Beach City Butchery". This gives 
a youthful kick in the shorts to all you 
beach-bum slacker types waiting for the 
next STITCHES record. Check out "Bad 
Vibrations", "Friday Night" and "That's 
the Difference". Good punk rock for bad 
people. Buy SMOGTOWN product! 

Till next month- 
See you around... 

See you in hell! 

Will it fly? That's a good question. 
Will this society soar into the next millenni- 
um as so many people are hoping? I have 
my doubts. In my opinion, we are like a kid 
haphazardly winding the propeller of a 
rubber band powered airplane. Not know- 
ing when to quit, we are winding ourselves 
up until something snaps. Currently, we 
are on the verge of this happening. We are 
on the brink of critical mass, sensory over- 
load, what the Hopi referred to as 
"Kayaanisqatsi," a space in time when life 
is so far out of balance that the wheel of 
existence must spin, destroying all which 
impedes it. 

Here in Sonoma County, it seems ev- 
ery winter brings the threat of flooding 
from the Russian river. When it does flow 
over its banks, entire communities, such as 
the city of Guerneville, face potential de- 
struction. As much as we pity the citizens of 
such communities, as much as we wish to 
help them, there is the obvious question 
that arises from the situation: what does 
one expect when they build their cities on 
river banks? What does one expect when 
the powers of nature are overlooked in such 
a grotesque manner? 

It's a cold, dreary day as I scan through 
the local newspaper, the local New York 
Times subsidiary- 
Inside it, I find Envision, a magazine 
sponsored by various local business inter- 
ests to pep up aspirations for the next cen- 
tury. In the middle of the magazine there's 
a cheaply crafted piece of fakery, a photo of 
the Santa Rosa skyline as it's hoped to ap- 
pear in .2020, a jumble of superimposed 
skyscrapers risinguplikeangry tombstones. 
Obviously this picture is meant to inspire 
the lusty ambitions of area real estate and 
banking moguls; it's meant to convey the 
image of Santa Rosa becoming a mini-San 
Francisco. For me, it conveys something 
different: the idiocy of building upwards in 
a region prone to violent earthquakes. 

Nearly a hundred yearsago, San Fran- 
cisco and its surrounding cities were com- 
pletely devastated by a massive earthquake. 
Defying all logic, the money interests of the 
time decided to re-build as though the topic 
of earthquakes was moot. Since they al- 
ready had their big quake, they felt safe in 
creating a future death trap for generations 
to come, aiming skyward with their huge 
architectural monoliths. Their legacy of bad 
planning, greed, corruption and neglect has 
lead us to the point where it takes months to 

fix aging sewage pipes, and literally years 
to even plan how to make existing bridges 
earthquake safe. Just how badly prepared 
the region is for the next big quake can be 
observed from what happened in 1989. 

The so-called "Loma-Prieta" quake of 
that year, a seven second hiccup, caused 
billions of dollars in damage, killed scores 
of people, and crippled the infrastructure 
of the Bay Area for years to come. This 
being the case, it's not hard to imagine what 
will happen when an earthquake lasting 
forty-eight seconds strikes. 

It would be bad enough if San Fran- 
cisco was the only seismic notspot in the 
state, but in reality all of California is ready 
to shake, rattle and roll. Perhaps even more 
poorly prepared for earthquakes is Los 
Angeles, which has no less than 200 minor 
fault lines running beneath its entire basin. 

California is a seismic casualty wait- 
ing to happen. However, besides earth- 
quakes, there are many other natural ele- 
ments of this state which are similarly threat- 
ening, from rampant wild fires to mud 
slides. Once again, in case after case, our 
antecedents ignored theirsurroundingsand 
hammered the environment into profitable 
forms. In his book, Ecology of Fear, Mike 
Davis clearly shows how greed coupled 
with a lack of holistic vision turned Los 
Angeles from a beautiful landscape into 
hellon earth, waiting to be ignited. But so 
what if nature decides to strike the match 
that burns Southern California? For that 
matter, who cares if all of California simply 
sinks into the ocean? 

Like San Francisco and Los Angeles, 
Tokyo is a modern city awaiting a killer 
earthquake. Recent estimates on theamount 
of damage that Tokyo could sustain from a 
direct seismic hit have risen to over a tril- 
lion dollars. Imagine that! A trillion dollars! 
Such a huge amount of damage would (and 
will) simply destroy Japan's economy. The 
same is true for what will happen to Amer- 
ica if San Francisco or Los Angeles receive 
direct hit earthquakes. A. trillion dollars 
worth of damage would instantly obliter- 
ate the economy of California; and since 
this state is the breadwinner for the nation, 
as it goes, so goes the country. 

Like California, The United States is a 
school bus being driven by a drunken per- 
vert. This letch we can summarize as the 
"will to profit," the only principle that keeps 
this nation going. In any time of chaos, this 
principle will spell itseff out in lewd acts of 
selfishness and self preservation, such as 
what's happening in Russia right now. Like 
Germany during the Weimar Republic, the 
decadence displayed while people starve 
can only lead to a violent correction of the 
situation. Since it seems unlikely that we 
will be able to pry the drunks from their 
positions of power, the best that any of us 
can do is prepare for the crash, and to make 
sure that from now on our future is held in 
more capable and caring hands — our own. 

Death to greed! 

If you would like to contact me or find 
out more about the philosophy of Structur- 
al Idealism, I can be reached at PO Box 4842, 
Santa Rosa, CA 95402-4842 or E-mail me at 

Im in hip 

IMtl lull UlCklBST 

Renae Bryant's 

5 mil. 


Really strange things always happen 
„«j. Since, this is the love month I'll share 
a story that has to do with love, jealousy, 
infidelity and confusion. No it's not the 
weekly USA network movie. It happened 
when I lived in Norco. I was walking my 
two dogs, a dalmatian and a red doberman. 
I preferred to walk my dogs to the park. 
Everyday I would walk the dogs to the 
park. No big deal. I was working as a sub- 
stitute teacher. One day I didn t have an 
assignment so I decided to run some er- 
rands. I jumped into my truck and started 
driving. I suddenly realized someone was 
following me. It was a woman. I changed 
lanes, she changed lanes. So, I pulled into 
the 7-Eleven parking lot and got out of my 
car. She slowed down but didn't pull oyer. 
I thought it must have been my imagina- 
tion. Then I went to my mom's house. Every 
time 1 visited she told me that someone kept 
calling asking for my home number, and 
stated that they went to RCC with me. I 
mom isn't dumb so she would tell them, 
"Well, if you're such good friends with her 
I am sure you can get ahold of her some- 

Then out of nowhere the mystery 
woman shows up at my house. I wasn t 
home. So she talked to the family that I 
rented a room from. She had it in her mind 
that I was having an affair with her hus- 
band. All the evidence pointed to me. I was 
the one. What? What? What? I guess her 
husband pointed me out at the post office 
and said I was the one. I didn't know this 
woman and I didn't know her husband. So, 
she left a number and asked that I would 
call her. I called the number. It wasn't her 
number, it was another woman's number. 
She talked to me. She was very upset that 
this woman was using her number. She 
said the woman was crazy and was accus- 
ing everyone in Norco of being with her 
"ulgy bawled husband." This woman gave 
me the other woman's number. I called it. 
The "ugly bawled husband" answered. I 
asked for thepsycho-bitch. She wasn't there. 
I told "ugly-bawled husband" that 1 didn't 
want her contacting me anymore. The other 
woman had mentioned that the psycho bitch 
worked at Vons. My boyfriend demanded 
that we visit her. We went to the grocery 

store. No psycho-bitch. We called her at 
home again. This time she answered. I told 
her that we were at her work. I wanted to 
freak her out the way she freaked me out. I 
succeeded. She started yelling at me about 
calling her house and going to her work. I 
couldn't believe this woman's nerve. She 
was following me in her car, calling my 
parents house, trying to find out informa- 
tion about me. I told her she was w rong and 
I was not the person she was looking for, I 
was not having an affair with her husband. 
My boyfriend, being sick of hearing me 
trying to reason with this psycho-bitch, 
grabbed the phone out of my hand and told 
her, "Leave my girlfriend alone or I am 
going to kill you. Great! I decided I better 
file a complaint against her before she filed 
one against us. 

Next psycho-bitch started calling my 
house begging me to call her back. She was 
so pathetic I finally gave in. I called her 
back. It was truly sad. She was this sad 
Christian woman who didn't have a clue. 
Her husband had cheated on her before and 
was cheating on her again. This woman had 
no self-esteem at all. I finally convinced her 
that it wasn't me and told her to get some 
help, for her kids sake. It really made me 
look forward to growing old, getting mar- 
ried and having kids. SURE!! 

Now, love is in the air. OOOOOOO, I 
feel love. The love boat, promises some- 
thing for everyone. So, it s February, the 
love month. As an elementary school teach- 
er every month has some Hallmark signif- 
icance. This one's all about cupid, hearts, 
exchanging cheesy Valentine cards, and 
eating candy. My column is going to be 
about eating and love (how do you like that 
segway?). First, food. I want to talk about 
this even though it is a common topic in the 
media right now. Women and their battle 
with their weight. I am disgusted with the 
current trend in popular culture for women 
to try to look like twelve year old girls. 
These "popsickle stick" women with their 
disproportionate head to body ratio. What 
the fuck? Didn't Twiggy do enough dam- 
age? Before Twiggy hit the catwalk/ Vogue 
pages, women were shaped like bottles of 
Coca-Cola. Women had tits and ass. They 
didn't have flat chests with erect nipples, 
flat because they refuse to have a single 
once of fat on their bodies. I remember 
Laura Flynn Boyle when she was on Tzvin 
Peaks. She was thin but had shape. She was 
sexy. Now she's fucking anorexic. Skin and 
bones. Don't get me wrong. I don't give a 
fuck about Laura or Calista or their eating 
disorders. What I do care about is how it's 
affects young girls and women. Young girls 
are getting the wrong impression that this 
is wnat women (the ideal woman) is sup- 
pose to look like. I tal ked to the students in 
my class about this. My Latino students, at 
least have Jennifer Lopez in the media to 
look up to. A woman with a woman's body. 
I wanted to address this in my column 
because I want the girls and boys, men and 

women, who read this, to preach to the 
community of young girls out there that 
they need to eat more than 1200 calories a 
day, that muscle is sexy, that tits and ass are 
sexy. Many of you would say that the punk 
rock community is immune to this. I don't 
think so. 

Now to love. A few months ago I had 
my heart ripped out of my chest by a 
thoughtless person. I turned to celibacy for 
as long as I could stand it. A few men wrote 
me expressing similar experiences. It made 
me feel better to know I wasn't alone. So, 
like everyone said, when I least expected it, 
I met someone new. Now I'm right back in 
love again. Stoked: a fellow punk rocker, 

treat personality, has a career, sings in a 
and, thinks I'm a goddess and treats me 
like it, has a huge cock perfectly shaped to 
fit like a puzzle piece, is five years younger 
than me (but I like them young) and shows 
me nothing but respect, treating me like an 
equal. I didn't think I would allow it to 
happen, but I'm glad I did. Happy Hall- 
mark Day to me!! 

Next time I'll share my new music 
finds with you. No time now. Complain to 
me at or PO Box 
251 Norco, CA 91760-0251. 

It began the summer of '91 when I saw 
the single at my friend J im's house. It struck 
me as one of the more bizarre records I'd 
ever laid eyes on: The Uncalled 4 from 
Waco, 1979. After listening to the B-side 
side, "Grind Her Up", I decided I had to 
have this record. At the time, I'd gone full 
tilt into collecting obscure American punk 
records with a particular interest in early 
Texas punk. I wrote down the address on 
the record and decided I'd drive the 100 
miles north to Waco and see what I came up 
with. The gods were smiling... an old lady 
answered the door, I told her I was looking 
for some band members, and she called out 
for her daughter who was visiting for the 
weekend. Sure enough, this woman played 
bass for the Uncalled 4 and was now mar- 
ried to the guitarist... they lived in Dallas. 
As you might imagine, she thought it was 
mighty bizarre that I'd just driven to Waco. 
She assured me that mv efforts would not 
bewasted...shestillhadcopiesof the record, 
and she'd sell some to me. 1 drove off think- 
ing what a lucky bastard I was. . . I stopped 
at the first payphone I saw and called my 
friend Brian to tell him. I eventually traded 
and sold about a dozen copies of the record. 
As "collector scum" items go, it was with- 

out a doubt a "Killed By Death" item. . . rare 
(300 copies according to the band), obscure, 
and fucked up. 

A good five years later, I started to 
work on a compilation of rare, early Texas 
punk singles. This would be the fourteenth 
release on my label, EV, and 1 was deter- 
mined to make it a dazzling display in light 
of the endless lame-o reissues that I'd seen 
released in the midst of Killed By Death 
madness. I decided the Uncalled 4 had to be 
included because - aside from the catchy 
tunes - it was just too bizarre not to show- 
case. Waco 1979... c'mon! Once again, I 
contacted the band to see if they wanted to 
be included. They did, and the guitarist 
wrote some hilarious liner notes. The Un- 
called 4 were listed alongside Really Red, 
AK 47, The Next, Dot Vaeth, and Vast Ma- 
jority on my compilation entitled Deep In 
The Throat of Texas. All of the singles were 
released between 1978-1980... or so I 

See, this is where the story really be- 
gins and curiosity kills the fuckm' cat. Last 
week, I noticed the guitarist selling a copy 
of the Uncalled 4 7" on eBay and just 
dropped a line to say hi. As my mind is an 
insatiable sponge for dumb punk trivia, I 
mentioned the fact that I'd never seen the 
record reviewed in my early Texas punk 
zines and wondered if they managed to 
actually get the record distributed in '79, or 
if it was more like '80. After some sketchy 
replies, I began to suspect that something 
was not quite right. Upon further e-mail 
exchanges, he admitted - a full eight years 
after I contacted him, bought copies of the 
record, collaborated with Turn on Deep In 
The Throat,and paid royalties tohim-that, 
in fact, the record was released in 1985, not 
1979 as itsays on the record . Nineteen eighty 
fucking five. While he claimed the songs 
were written in '79 and the Uncalled 4 was 
a "semblance of a real band in 1980", it was 
not until 1984 or so that they recorded - in 
California. Moreover, the band had formed 
in Austin, not Waco. Of course, the next 
logical question would be why would a 
band from Austin put a Waco address on 
the record and date it 1979 when neither 
was true. The answer, according to the band 
member, was simple: "Because we meant 
to do it then and we knew even in 1985 that 
it would be important to be on the right side 
of 1980, and that Waco was way cooler than 
Austin." This logic would prove to be rath- 
er brilliant and would provide the under- 
pinnings for a grand hoax indeed, a hoax 
nurtured in a collectingenvironment where 

Eremium is placed on the very things the 
ncalled 4 deemed "cool." The story was 
already established when I got into the 
picture, and plenty of early punk fans and 
collectors played right into their hands over 
the years. . . and the band members ran with 
it. Lying to the face of people who befriend- 
ed them seemed par for the course. NO- 
BODY was suckered more than myself. I 
have to maintain my sense of humor about 

the whole thing as I stare at the Deep In the 
Throat of Texas compilation, a project I 
spent a lot of time and effort and money on. 
The whole thing is funny even when I'm the 
butt of the joke. The Uncalled 4 managed to 
write themselves into the "good old days" 
of Texas punk in the grand style of the Great 
Rock & Roll Swindle. 

When I asked them what their moti- 
vation was (i.e. did they do it to make 
money, did they do it because it was funny 
seeing some idiot running around singing 
thei r praises, did they just want to be thought 
of as pa rt of the scene), the answer I got was 
this: ".'..motivation had more to do with 
our feeling like outsiders and finally having 
a place in history, even if it was scammed 
rather than earned." I must admit seeing 
the logic and sympathizing to some degree, 
but I can't help thinking that their inclusion 
on my compilation (as well as Killed By 
Death Volume 8 ) somehow cheapens the 
long overdue recognition that the genuine 
bands are now getting. None of these other 
early punk outcasts had the benefit of know- 
ing exactly what would be BECOME cool . . . 
they just DID it themselves their own way 
despite the prevailing norms and got their 
punk rock vindication years later. A band 
recording in 1985 doesn't deserve the same 
respect as one recording the same music in 
19/9... sorry. It's like the military officers 
caught wearing medals for wars they didn't 
fight in, it's like the guy who buys trophies 
at garage sales so he can claim them as his 
own... in the end, it's fucking lame. 

And so... since I have unwittingly 
helped corroborate the Uncalled 4 hoax, I 
feel obligated to do my part in exposing it. 
It's all part of the collector scum's NEED for 
the real deal, the original, the authentic. I 
still love the record, but I can't quite hold it 
in the same regard. So, there it is folks. . . the 
Uncalled 4, probably one of the most in- 
spired punk rock collectible scams around. 
Signing off, it's your punk rock collector 
scum seeker of truth and justice... 

Peer Pressure, P.O. Box 49984, Austin, 
TX 78765 

P.S. I got the URL of my own website wrong 
in a previous column... the correct one is: 

!-s — 

^_ ftNfcO.,*,^.. 

. ^fl 

■L Take 

George -] 

rA tnY 

raklA life. 


^1 W\ 

V please! 

■ H . 

She unbuckles her sea t bel t, leans over, 
and kisses me really hard. I feel her tongue 
dance around my mouth, and am immedi- 
ately reminded that I haven't been to the 
dentist lately, and wonder if she can taste all 
the plaque and build-up. I know I can. She 

then looks me in the eyes and remarks how 
blue they are. She asks if they are colored 
contacts. I tell her that my eyes are naturally 
this color, but my blonde hair isn't. She says 
she wants to see for herself and starts to 
unzip my pants. I feel myself really starting 
to get excited and ask her to turn off the 
radio. I don't like distractions during sex. 
She argues that the station playspunk rock, 
and that she really likes punk rock, but final- 
ly agrees. We start to kiss again and I feel her 
hand return to my zipper. I start to think to 
myself how lucky I am to be here, in a car, 
making out with a beautiful girl I had just 
met in a bar an hour earlier: She had silky 
dyedblue-blackhair, eyes so blue they looked 
white, like from "EvilDead" or "The Exor- 
cist" or something, and boobs that were 
fucking amazing. I had like won the lottery 
or something. 

Anyway, we start to really go at it, and 
my heart starts beating a million miles an 
hour. She finishes unzipping my pants, and 
gently slides her hand down, inside my un- 
derwear, and grabs me. I let out a moan and 
kiss her deeply. Suddenly she pulls her head 
back and looks me in the eyes. I look back at 
her, puzzled. She continues to hold onto my 
dick as she looks down at my crotch and 
says, "What is this?" I tell her it is my penis. 
That all men have one. Well, most of them, 
anyway. Except for those emo guys. She 
says that mine feels different, and with one 
hand still on me, she opens the car door 
slightly so the light goes on. She then takes 
out my pecker and examines i t closely. I look 
at her, wondering what the hell she is doing. 
"What are you doing?" I ask. She tells me 
that my dick is not like the ones she is used 
too, but it still turns her on. "Phew," I think. 
Almost had another almost. She then puts 
her mouth on it, and I feel myself start to 
float toward punk rock heaven. I look at her 
as she bobs up and down, and continuously 
bumps her head on the steering wheel of my 
VW. "Thick head," I think. Wow. 

She then stops, sits up next to me, and 
asks if I want to "play with her titties." I had 
never had a girl say that to me before, and I 
was kinda shocked. Usually, I kinda just did 
that, without them asking, but something 
about this girl made me a tit stand-offish. I 
told her I would love too, and she said okay. 
She then somehow managed to get on my 
lap, between my wiener and the steering 
wheel, and take off her shirt. Then I saw it. 
Something I'd never seen before. Holy punk 
rock! She thought my pecker was different? 

Well, ya gotta hear about this! 


Actually, it had all started about an 
hour and a half earlier, in a shitty bar, called, 
what else, "The Bar." This is a few year back, 
mind you. I was there 'cause there was not 
much else to do that night. No good bands 
were playing, and I had seen all the movies 
at the two dollar theaters in Gainesville, 
Florida, like five times. So I went to "The 
Bar." I figured I'd just drink, and if I was 
lucky, get put out or my misery by some jock 

m J& £>*nm£ 

or redneck. I wasn't even expecting to get I tell Bubba to go for it. Bubba steps up to the 
laid. The thought of that had long since left microphone, and starts to play along to our 
my mind. 1 was on a cold streak so bad that song. The crowd goes nuts, and besides full 
I was actually thinking about getting a job 
milking cows, just to get some action. 

On the way to "The Bar" that night, I 
had run into my friend, and ex-drummer, 
Pete. Pete and I had been in a band called 
"The Ranch Hands." We played one gig, and 
were permanently banned from every club 
in town. See, we told the owner of this club, 
"Main Street", that we were a C&W band. 
That's Country and Western. Or "Cunt-tree 
Western" as Pete called it. Anyway, we told 
this really fat guy named Bubba that we 
played real cowboy material. He asked if we 
did any covers. We told him we did some 
Skynard, Alabama, Molly Hatchet, and shit 
like that. He asked if we did any Charlie 
Daniels. We told him we did, and also we 
did his brother, Jack. He just looked at us, 
but gave us the gig anyway. 

So we snowed up in cowboy outfits, 
complete with hats, and studded shirts. As 
we set up our amps on stage, all the cowboys 
and rednecks in the place kept yelling stuff 
like "Freebird" and "The south will rise 
again!" Whatever. 

Finally, we went on, and opened with 
a Country & Western riff. Actually, it' was 
"Green Acres." It was the only C&W riff we 
knew. Everyone applauded wildly, and I 
looked at Pete, and he looked at me, shocked. 
We both then looked over at our bass player, 
Greg. Greg looked at the floor. Like he al- 
ways did. We continued the set with a bunch 
of originals that we had made up that after- 
noon. Songs like, "Now I Wanna Fuck Some 
Sheep", and "Now I Wanna Fuck Some 
Cows" and "Now I Wanna FuckSomeChick- 
ens". The audience seemed to like us. They 
threw full bottles of beer at us. We'd pick 
them up off the floor, before they would spill 
out entirely, and gulp them down. 

During the whole set, Bubba kept yell- 
ing for us to do "Charlie Daniels." The audi- 
ence seemed to catch what Bubba was say- 
ing, and yelled for Charlie Daniels as well. 
We finally stopped making noise for a few 
seconds, and introduced the nextsong. "This 
song is by Charlie Daniels," I said, with my 
best southern accent, "and it's called, "Now 
I Wanna Fuck Some Ducks." They all ap- 
plauded wildly, and one redneck yelled out, 
Now I wanna fuck some sluts, alright!". 
Whatever. We kick into the song, which is 
the same thing as the last five or six songs, 
with maybe one different note, and Bubba 
runs up on stage with something under his 
arm. 1 don't have my contacts in, so I can't 
really make out what it is. As he gets closer, 
I see that it is a black case, and I start to panic. 
Does Bubba have a gun? Is he gonna shoot 
us? Bubba then drops the case on the floor, 
and opens it. I look back at Pete, and he is 
standing up and playing. He looks like he is 
ready to do the hundred yard dash. Then 
Bubba takes out a Violin. 

"This here's my fiddle," he yells to me. 
I nod my head. "Do ya mind if 1 play along?" 

bottles of beer flying at us, they start throw- 
ing money. Then a couple in the audience 
stands up and starts to square dance. Then 
more people do the same. 

As Bubba plays along to the awful 
noise we are maldng, I step up to Greg's 
mike. I don't even think he notices until he 
sees my sneakers. Then he looks up at me, 
confused. I yell to him to just keep playing. 
I then say stuff in the mike like ' talce your 
partner, doh-cee-doh, fuck thatchicken, there 
ya go!". Everyone starts clapping. Finally, 
like a million beer bottles and eighty-three 
cents later, we stop playing. But not Bubba. 
He is still doing the riff from "The Devil 
Went Down To Georgia." I tap Bubba on the 
shoulder and tell him we are through. He 
nods his head and keeps playing. 

Later, as we are packing up our amps, 
I walk up to Bubba and asK him for our 
money- "Money?" he says with a very thick 
southern drawl, "You boys are lucky 1 don't 
kick all of you all's asses.'' I tell him I thought 
he liked us. He says that he thinks we stink, 
and if that we hadn't played that Charlie 
Daniels song, he'd have killed us. I was glad 
to get my equipment out of there in one 

Anyway, so I was on my way to "The 
Bar" that night and I saw Pete hitch-hiking. 
1 thought about not picking him up for a few 
seconds, but 1 think he saw my face. Pete had 
gotten weird lately, and I wasn't quite sure 
why. Maybe it was drugs, or quite possibly, 
it wasjust the Sunshine State taking its toll. 

So I pull over to the curb, and Pete 
opens the door to my VW Bug. He then gets 
in and asks where I am going. I just look at 
him. He stares at me for a few seconds and 
then says, "Don't I know you?" I tell him we 
played in a band together a short while ago. 
He says, "George?"! tell him that it is me. He 
says, "Didn't we play in a band together a 
short while ago?" I think it was drugs. 

As we make our way downtown, I ask 
Pete where he is going. He says, "I dunno, 
anywhere." I tell him I am going to "The 
Bar." He says, "What bar?" I say, 'The Bar." 
"Which bar is that?" he asks. "The Bar," I say 
again. "The Bar?" he asks. I tell him yes. 
"Which Bar?" he asks. "Third Base," I say. 
He just looks at me. Then he says, "Oh, that 
place. Haven't been there." 

So we get to "The Bar," and the place is 
kinda empty. I see a few familiar faces, but 
the place is mostly crawling with college 
students who thought that "new music" 
was hip. I order a beer, and strike up a 
conversation with mv friend Jack. 

"How's it going, Jack?" I ask him. He 
tells me that he got run over by a motorcycle 
a couple of months ago, but that he is doing 
fine now. I kinda cringe. He then asks if 1 
want to see where he was run over. I tell him 
"sure," even though 1 really didn't. He lifts 
up his shirt, and there are fucking track 
marks across his stomach and chest. Wow. 

"Neat, huh George?" Jack asks. I tell him that 
it is indeed neat, but that I had to go to the 
bathroom. I excused myself, ran to the men's 
room, and dry heaved for a while. 

Eventually, I return to the bar area and 
finish my beer. I sit on a stool alone and listen 
as the DJplays The Ramones, Vibrators, and 
Psychedelic Furs back to back. I then order 
another beer. As 1 go to pay for it, some girl 
says to the bartender that she'll take care of 
it, and gives him some money. I look at the 
girl. She looks at me. 

She has longish blue-black hair, and 
the bluest eyes I have ever seen. She is about 
my height and very sexy. I say hello to her. 

"Hi," she says back to me. We don't 
say anything to each other for a few seconds, 
and I sip on my beer as she sips on her pink 
and orange drink. 

"I'm George," I say to her deep blue 
eyes that make me feel as though I am in the 
North Pole, or at least eating a Peppermint 
Patty. "I know," she replies, as she slowly 
continues to sip on her pink and orange 

We continue to drink in silence for a 
while, and I begin to wonder what the hell 
the girl wants with me. Obviously she knows 
me, and shit, maybe I know her. Maybe I 
don't remember her. Maybe I should know 
her. I start to panic. What if I used to date 
her? What if she was the mother of my 
children that I didn't know about? What ifl 
owed her money? Yikes. 

"I remember you from Roach Motel," 
she says to me with a deep and sexy voice. 
"Have we met before?" I ask her, breaking 
my long habit of waiting for people to say 
something about themselves that will give 
me a clue as to who the fuck they are. 

"No, I just remember seeing you play 
many times, and I have always thought you 
were very sexy." 

I look at her. Beautiful. Sexy. And talk- 
ing to me. What was wrong with her? I tell 
her that mostly dogs and hippies saw Roach 
Motel, and maybe a few cows in our old 
drummer's barn. 

She tellsmeshe sawme and thinks that 
I am really something. I tell her that dogs 
used to think I was really something, like a 
tree or fire hydrant, and used to piss on my 
legs during shows. I tell her that hippies 
thought I was something, as did cows. But 
never girls. She says she wants me. 

Iback up a bit. I say, "What did you just 
say?" She says, "I want you." I ask her her 
name. She asks me if it really matters. I tell 
her no. So she doesn't tell me. 

We continue to drink our beverages in 
quiet, and suddenly she starts to rub her leg 
up against mine. I look at her, and she smiles. 
A very sexy smile. I chug down the rest of 
my beer. She gulps down the rest of her 
orange and pink drink, and then licks her 
lips. I figure I'm dreaming. 

I have a hard time standing up, but 
somehow manage to do so, as does the girl. 
She takes my hand, and leads me out the 
door of "The Bar." As we are leaving, Jack 

yells over to me that I didn't see where his pit 
bull bit him a couple of days ago. I tell him, 
"next time". 

We go out into the parking lot and she 
says to me, "Do you have a car? I point over 
to my Green VW, with the "Gabba Gabba 
Hey' license plate. She takes my hand and 
leads me to it. When we get to the car, she 
says, "Open it." I do, and she gets in. As she 
does so, I get a good smell other hair and 
perfume, and feel my hormones just about 
rip my jeans off. 

I get into my side of the car, and ask her 
where we are going. She says, "right here," 
and then leans over and kisses me. I kiss hei* 
back, and then she puts her hand on my 
chest and starts to scratch me. Wow. I can't 
believe my luck. "I want you" she moans as 
starts to lick my face. Suddenly there is a 
knock on my window. I look up and see Jack 
and his girlfriend smiling. "Go tor it, George" 
says Jack. 

I smile back at him, reach into my 
pocket, pull out the keys, and start the car. 
"Where are we going?" asks the girl 
with the blue eyes in the passenger seat of 
my car whom I think I am going to have sex 
with. "I dunno," I tell her, "away from here." 
She nods her head, and I start to drive. We 
make our way down the street, and I start to 
look for an empty parking lot. One where we 
will be left alone. Finally I decide upon a 
bank. 1 pull up behind the building, and we 
start to go at it again. 

As we are kissing, and she is telling me 
that she always wanted a member of Roach 
Motel, I hear another knock on my window. 
I clear away some of the moisture that we 
both created, and see the face of a cop. I roll 
down the window. 

"This is private property," says the 
cop. "Are you aware of that?" 1 tell him that 
I am not. "Ignorance is no excuse to the law" 
he says. I tell him I'm sorry and start my car. 
The whole time I feel as though my dick is 
gonna explode. "Well, you two go find a 
motel or something," the cop says. I laugh 
and tell him I will. The cop then says, "What 
are you laughing at, boy? I tell him nothing. 
He just narrows his eyes and looks at me. 

We drive around some more, and I 
find a kinda empty parking lot next to a 
greenery. A tree farm. Whatever the fuck 
you call those places where people go in and 
buy plants. Like they can t go out in the 
woods and pick them where they are free. 

We start to kiss, and it is kinda uncom- 
fortable. I ask her if maybe she wants to get 
a hotel. Fuck, I figure I could spring for it, it 
wasn't like I was getting laid, and this was 
definitely worth it. She says, "No, I want to 
fuck you in your car." She said the "F" word. 
To me. Wow. No girl had ever said they 
wanted to "F-word me. This was amazing. 
I told her, "OK". 

So we start to go at it again, and I take 
her hand, and put it on my crotch. She rubs 
it really hard, and I squirm in my seat. I 

gently stroke her blue-black hair and again 
start to breathe real heavily. And again, there 
is a pounding on the window. 

I open the window up this time, be- 
cause the fog inside the car is too thick. 
Outside I see a guy with a mustache, and a 
woman standing next to him. "This here is 
my property/'says the guy, "you kidsshould 
go else where. To your own homes. Alone." 
he adds. I just look at him, as does the girl, 
whose hand is still rubbing my crotch. I try 
not to show any pleasure. 

"You kids are sinning against God," 
says the woman with an accent so thick she 
must have grown up in the fucking swamp 
or something. I tell them that I am sorry, start 
the car, and drive off, again. 

"Listen, whatever your name is," I say 
to the girl as we are going down the street 
again, 'maybe we should get a motel. There 
is one near by, and I'll pay for it." She says 
nothing to me, but frowns. Not good, I think. 
Then her eyes light up. "Right there," she 
says. "Where?" I ask. "Right there," she 
says, pointing to a very huge and empty 

Barking lot. I look at it, then her. "The K- 
lart parking lot?" I ask her. "Yes," she says, 
"I want to fuck you right there." She said the 
"F" word again. I pulled into the par king lot 
very quickly. 

So I park the fucking VW bug right in 
the middle of the parking lot, right where 
everyone could see i t. We start to go at it and 
the windows completely fog up. 

She turns on the radio, and then turns 
it off. Her tongue probes my mouth, as her 
handsunzip my pants. Finally she reaches in 
there and grabs a hold of "Mr. Happy." I 
sigh, and think, "finally, relief." Then she 
stops, backs up, and looks at me. "What is 
this?" she asks, and I tell her it is my penis. 
She opens the car door to get somelight, and 
then looks at it and examines it, like it is 
something she has never seen before. She 
looks at the shaft, then at the tip, then at the 
shaft, then at the tip again. She tells me she 
has never had one like this, but it turns her 
on. We start to make out again, and she asks 
if I want to play with her titties. I never had 
a girl ask. that before, and tell her that of 
course I do. She sits on my lap and puts my 
hands on her breasts. I start to squeeze them, 
and they feel real good. She moans and 
groans, and continues to play with my wien- 
erschnitzel. She keeps feeling it, around it, 
and the top of it. 

Eventually I ask her to take off her 
shirt, and she does. I see a dark spot on and 
above her left boob, but can't make out what 
it is. Probably a bad birth mark or some- 
thing. I start to kiss and lick her boobs and 
she sighs and says how much she wants me. 
I also notice that she is wearing a cross 
around her neck, and as I take it in my 
mouth, it really turns me on for some reason. 
So, there I am, with a crucifix in my 
mouth, my head between the greatest set of 
knockers I have ever seen, and my pud being 
pulled by a woman who used the "F" word 
with me. Life couldn't get any better. Or 

could it. 

Suddenly the girl says she wants to 
see my pecker again before I put it inside of 
her. She again opens the car door slightly, 
and takes a good long look at my penis. I 
take a good long look at it too, wondering 
what the hell she is thinking. "1 know," she 
squeals, "this is circumcised!" I tell her that 
it is and she tells me she has never had one 
like this before, and that she is wet, just 
thinking about it. As I tell her that that is 
neat, I get a good look at the spot on and 
above her boob. It is not a birth mark. It is a 

Lots of girls h'ave tattoos. Even some 
girls I have dated. They get things like 
flowers, unicorns, or even hearts and shit. 
Some of the tougher girls I have been with 
have had leopard skin spots, and even one 
girl had a tattoo of a penis on her arm. But, 
ruck, I had never seen anything like this on 
a girl. For all her beauty, what with the blue 
eyes, beautiful silky black hair, and great 
boobs, the tattoo ruined everything, or so I 
thought. I mean, what kind of girl has a 
tattoo of the word "Skinhead" with a Swas- 
tika below it on her tit? 

"You got a Swastika on your breast!" 
I say to her, kinda really in shock. She just 
looks at me. I look at her Swastika again. 
And the word, "Skinhead." We both say 
nothing for a few seconds, and I feel my 
dick start to get limp in her hands. 

"Are you a Jew?" she asks me. I tell 
her that I am. "Good," she says, "I never 
fucked a Jew before, and have always want- 
ed too!" I feel myself get hard again. Rock 

"I never fucked a Nazi before" I tell 
her, "and am not sure I want to," even 
though my dick definitely wanted to. "I'm 
not a Nazi," she says to me. "I used to be, 
back when I was in high school, but not 
anymore. " I ask her how old she is now. She 
tells me eighteen. My penis goes ape shit, 
and almost bursts. 

"How long have you been out of high 
school?" I ask her. She tells me she has been 
out a whole three months. I ask her if she 
knows what a swastika means. She asks me 
what a swastika is. I point to her tattoo. "Oh 
that, that is what the Nazis wear. What my 
old boyfriend used to wear. I never really 
thought about it." 

I think about explaining to her the 
significance of the symbol she wears in 
permanent ink upon ner lovely breast. The 
message of hate it stands for. The millions 
who died because of one man'scrazy dream, 
and a whole country full of morons who 
followed him, and who are just rude peo- 
ple, anyway. I think of telling her about the 
suffering that went on, and still does, and I 
think of telling her to get lost. But I don't. I 
do something even better. I fuck her. 

So we start going at it, with her on top 
of me, with her back to the steering wheel. 
I stare at her breasts and the symbol of hate 
as I feel her rock back and forth upon me. I 
watch her cross bounce up and down, and 

listen to her moans and groans. I have to 
hold back my impending orgasm. 

Then I tell her I wanna be on top, and 
start to have intercourse with her that way. 
I plunge in deep, and as 1 do so, I think 
about all the horrible things hate has done 
to this world over the years. 

I think about the Klan, about other 
hate groups, and about Nazis. Now I was 
getting revenge. 

I pinned ner hands down to her sides, 
and continued the act as she moaned and 
groaned and got wetter and wetter. I think 
she was like having orgasms or something. 
But that didn't matter. What was impor- 
tant was me. Was the fact that I was getting 
Rleasure from her. A Nazi. A good looking 
lazi. But a Nazi. 

Finally I couldn't hold backany long- 
er, so I took out my penis, yanked off the 
condom, and came all over her swastika 
and cross. 

As I ejaculated, I felt a sense of power 
and pride that I had never felt before. I felt 
like 1 had climbed Mount Everest, and 
reached the top. I felt as though I pitched a 
no-hitter in the world series. I felt as though 
I was that Armstrong guy, and set my feet 
upon the moon. I felt liked I, well, just 
fucked a Nazi. 

I collapsed on to her, exhausted. She 
hugged me, and whispered in my ear that 
she never came so many times. I lifted my 
head to look at her, ana saw her beautiful 
blue eyes. I also looked at her tattoo cov- 
ered in white stuff, and her nipples, still 
erect. I looked at her face again, and she 
looked at me. 

Then, for the first time, I saw her for 
what she was. A young girl, confused. A 
young girl, who was easily influenced by 
those around her. A girl who was learning 
about the world and who had made some 
past mistakes. Like we all do. A kid. I bent 
down and kissed her, then hugged her. It 
felt nice. She sighed. 

Finally I pulled myself away from 
her, and took one long last look at her 
beautiful naked body in my car. It was then 
that I noticed that the cross around her 
neck was submerged in come, and upside 
down. I felt myself getting hard again. I 
tried not to, but I couldn't help it. Hell, I 
had never fucked someone who wor- 
shipped Satan before. 

Take My Life, Please. 
1. 2. Saw lots of 
good bands, lately. Like Scrap, The Bullies, 
Sexy Xrist, Dick Army, um, wait, Dick 
Army? Good? Doh! 3. Our new bass play- 
er, Stevie, rules. And the chicks dig him. 
And he loves the Motley Crue. Mothers, 
lock up your daughters. 
4. Our drummer, Michael, is a hottie as 
well. But he's from Michigan. Farmers, 
lock up your livestock. 5. Lastly, I wanna 
give a shout-out to all my pals in Eastern 
Europe who are going through some seri- 
ous snit right now. Hang in there. Punk 



marK murrmann 

A quick column this month. This 
month, like almost every December, is a 
slow month for records. Not a ton of stuff 
has come out. Just wait though.r.after ev- 
erybody has cashed their Christmas or Cha- 
nukah checks, you can betsome new records 
will be hitting the stores and mailorder lists. 
Here's a quick rundown of some stuff that's 
come my way, a guide to help you spend 
that holiday money. 

The vinyl version of the UNNATU- 
RAL AXE collection, "...Is Gonna Kick Your 
Ass," has finally been released by Alterna- 
tive Action (PO Box 174/11101 Riihimaki/ 
Finland). 15 songs that prove these guys 
rocked beyond the well known killer, "They 
Saved Hitler's Brain. " They go from screech- 
ing to melodic, at times sounding like the 
GIZMOS. And you should also be sure to 
get their newly recorded 7", "Brain Dam- 
age/Bombing & Burying" on D.U.I (PO 
Box 46073/Mt. Clemens, MI 48046), which 
proves they're as vicious as ever. Rumor 
has it that they've been seen stomping 
around the Detroit area, as well as Boston. 

Alternative Action is also responsible 
for the new LP by the legendary DRONES. 
They're still able to kick out thick-skinned 

fiunk, and even have a good, sharp edge, 
t's all recently recorded. 

IVY GREEN isn't nearly as well known 
as they should be. Their self-titled LP has 
recently been re-released. Now you can get 
absorbed in their loud, non-stop, rolling 
punk. From the first song "I'm Sure We're 
Gonna Make It," you get sucked into the 
record and can't escape. I love reissues. 

Another, this one on the Mod side, 
and sort of a unlikely candidate for reissue 
status, is the CHORDS' "So Far Away" LP. 
I would've expected the JOLT to get the 
treatment first. The CHORDS hold their 
own though, with sharp, angular mod-pop 
action. Some of the songs totally loose me 
(the BEATLES cover), but there are some 
great songs on the records. Not essential 
unless you're a power pop or mod hound. 
A much newer reissue, No Idea 
Records (PO Box 14636/Gainesville, FL 
32604) stepped up to reissue the impossibly 
out of print FRACTURE 12". The original 
came out in the mid-'90s, and was pretty 
much only sold on their tour and in their 
hometown, Philadelphia. This is serious 
one of my favorite records of all time. The 
reissue of their heavy on the Punk, pop 

fiunk includes everything they ever released 
7"s, comp tracks, the 12") and some other 
stuff they didn't. Both the vinyl and CD 

have the same tracks, but the vinyl is limit- 
ed to 333 copies, so you better act FAST, like 
yesterday! Both are $7 ppd from No Idea. 
Oh, Atom, from ATOM AND HIS PACK- 
sounds nothing at all like AAHP. 

Other reissues to keep your eyes 
peeled for: the PENETRATORS (NY) 
''Watch Out for the..." 7. The REACTORS 
"Half Life" LP. The band who unleashed 
the stupidly hard to find single "Seduction 
Reducers/I Want Sex" back in '79. The LP 
includes those 2 songs, plus 16 studio and 
live songs, as well as an insert and all the 

Two never before released ZERO 
BOYS songs, recorded during the same ses- 
sion as their classic "Vicious Circle" LP 
have finally been uncovered and released 
back to back on a 45! Limited to 500 copies, 
this monster features "Slam and Worm" 
and "She Said Goodbye" . Now I know San- 
ta Clause really exists! I guess I was a good 
boy this year! The question remains: why 
weren't this ever released before? 

In related ZERO BOYS news, the 
ZBoys are playing a reunion show on New 
Years Eve, in their hometown of Indianap- 
olis. Did I already mention this? Did I men- 
tion it's the original line-up? Still, rumor 
has it that Paul Z isn't very excited about it 
all. I got my plane ticket. I'll let you know 
how it was. 

Over a year ago, you may have no- 
ticed Bloodstains Across the World adver- 
tised in a few record lists. Well, it's FINAL- 
LY out! As promised, all the songs have 
never been comped anywhere else; it even 
has the first Chinese punk song on a reissue 
comps (by the DRAGONS. They do a cover 
of "God Save the Queen"). 16 songs in all, 
limited to 400 copies. For as much money as 
these cost, the quality is on the low side: 
foldover sleeves, very little info about the 
bands. The sound is good though, as are 
most of the songs. 

The second ASTRID OTO 7" tears 
things up a little more than the first, with an 
emphasis on the raucous and loud over 
catchy and poppy. (Meconium PO Box 
25171 /Raleigh, NC 27611). Should I men- 
tion that Aaron Cometbus is in this band? 

BU LLYS from New York shake things 
up with a street tough, thuggish attack. 
Luckily their feisty guitars and biting vo- 
cals overpower the cliched aspects of their 
songs. (Headlock/PO Box 580/Midtown 
Sta/New York, NY 10018). 
And finally this month, if you buy just one 
record from this column, make sure it's the 
JOLLY GREEN GIANTS 45 on Norton. Both 
songs, "Busy Body" and "Caught You Red 
Handed" will put wind in your sails and 
remind you what rock 'n' roll is really about. 

I have the best girlfriend, ever. For my 
birthday, Mimi made an issue of Sty Zine 
(#50) for me, on the sly, with help and 
contributions from my friends. Plus, she 
dug up some of my old ghosts and reprint- 

ed stuff from Sty Zine, going back to about 
issue #8. Yikes. It's really great though, if 1 
do say so myself. Send me $2 if you want a 
copy. Also, I finally saw a copy of ACTION! 

fhotozine #2. Jason Leonard in Gainesville, 
L put it out. I haven't gotten any and can't 
get a hold of him. But if you're in Gaines- 
ville, pick one up. Some of the photos (and 
lots more!) can be seen on the ACTION! 
website ( 
That's it. 

Oh wait.. .I'm revamping the Scumpit/ Pio- 
neers of Punk section. Ifthere's a band you 
think should be featured, let me know (even 
if you don't want to/can't do the article 

PO Box 11906 • Berkeley, CA 94712 // 

Something to Do: 
Anticipating Armageddon 
With America's Youth 
Back in the 1980s, when floppy disks 
were still floppy and Disney was just begin- 
ning to take over the world, there were only 
a couple of problems with the approaching 
millennium - and for most of us, these prob- 
lems were the problems of others. A few 
religions were beginning to predict the end 
of the world would occur on the last day of 

1999, but with the exception of those whose 
fears made them targets, these religious 
claims were not taken too seriously. Howev- 
er, those who had previously dismissed the 
claims of religious thinking for the comforts 
and assurances of science nave now found 
that they have their own fear of the apoca- 
lypse to consider - an apocalypse which, 
coincidentally, is expected to occur at the 
exact same instant as the supposed biblical 
apocalypse (who will know the difference?). 

The Y2K problem, coupled with cer- 
tain religious groups predicting their own 
end of the world, has created a fear in the 
back of everyone's mind. Everyone from the 
cynical atheist to the hermit living in the 
woods looks forward to breathing a sigh of 
relief on January 1st, should there be no 

The biblical apocalvpse has its roots in 
the idea that Christ wilf return in the year 

2000, to kill everyone who said he was a 
phony. The Y2K problem dates back only 
about fifteen years, and was not even ex- 
posed as a problem until a few years ago. 
Whatever the outcome may be on January 
lst-biblical vengeance, technological chaos, 
both, or even neither - younger people 

throughout America are beginning to be- 
come excited about something, shedding 
the boredom and apathy which have come 
to define their generation. The possibility of 
the end of the world is popular for the same 
reasons that television shows such as Cops 
and When Animals Attack are popular: genu- 
ine panic. Younger Americans — aged twen- 
ty-five and under — have had no opportuni- 
ty to directly experience a genuine state of 
panic or fear, and they would like to. The 
world has its undeniable share of problems, 
but these problems lack any ultimate influ- 
ence on what it is to be an American teenag- 
er. Past generations have had a number of 
threats to confront, each affecting them di- 
rectly in some way: glorious wars, nuclear 
arms races, plagues, and dictators who actu- 
ally could take over the world. In the past 
couple of decades, these threats have dwin- 
dled substantially: the closest thing to a war 
is the video-game "Gulf War"; nuclear ca- 
pacitieshavebeen reduced, and, even worse, 
socially tabooed; plagues are obsolete with 
the exception of the mostly avoidable AIDS; 
and Saddam Hussein couldn't even book a 
commercial flight into the United States, let 
alone dominate the country. 

Instead, the present world is one of 
processed reactions, where any tragic event 
procures only an immediateclichedreply. If 
an elderly sports legend passes away, we 
automatically expect President Clinton to 
issue a statement that he was "deeply sad- 
dened" and that "America has lost a great 
hero." Any response to a tragic event which 
may be negative is instantly eliminated from 
the mind to avoid negative publicity. No 
event has the capacity to excite any longer - 
each newscast is a repeat from the night 
before, computers operate the world, and it 
seems as if there is a Toyotathon every month 
and an "extra-special' Dateline on television 
every night. Impeaching the President or 
bombing Iraq have both Decome just some- 
thing to do momentarily, a distraction from 
the banalities of daily existence. The reason 
the FOX television network succeeds with 
its surveillance-footage television program- 
ming is because of the show's authenticity - 
people enjoy seeing how other people react 
in crisis situations. They enjoy seeing people 
lose control of their reactions, for it is these 
same people who — despite how pleasant a 
transaction may have actually been — say 
"Thank you, have a nice day " to each person 
they deal with at the local Wal-Mart. This 
type of programming is popular most with 
younger people, as it is they who have en- 
countered the most i nsincenty in their expe- 
riences with the world. "All I keep thinking 
about," says upstate New Yorker Mike 
French, "is how cool it's going to be at mid- 
night on New Year's Eve, when I'm in my 
cabin in the middle of the woods and I turn 
the radio on at midnight and I just hear the 
whole world click right into static." Mike 
French is one of the many people who may 
or may not be overreacting to trie Y2K crisis. 
A twenty-four year old with a bachelor's 

degree in communications and a job as a 
cameraman for the local news, Mike's inter- 
est in technology has since blossomed into 
an obsession with the Y2K problem. Like 
many his age, Mike has grown somewhat 
desensitized to disasters and tragedies, of- 
ten assigning more value to the chaos an 
event can cause than to the sanctity of hu- 
man life. He is a responsible enough mem- 
ber of society to realize the moral absurdity 
of such an evaluation; however, he also ap- 
preciates tha t this conclusion is not one of his 
own misanthropy but instead one of social 
development. While recalling a chronologi- 
cal list of disasters from centuries ago until 
today, Mike's tone evolves from one of ap- 
preciation and awe to the tone of someone 
who feels he is being taken advantage of, as 
if he were being deprived of the destruction 
he is entitled to witness as a member of the 
human race. As his list approaches the 1 980s, 
he concludes, "And what do we have... the 
Challenger explosion? I remember that and 
you remember that, but as far as great trag- 
edies go we got ripped off." 

His remarks may appearblood thirsty, 
but they are the genuine frustrations of a 
young man who, since his first dealings with 
society, has been told who he is and what 
products to buy. Upon buying these prod- 
ucts, he has had to prepare each product for 
consumption by removing a "safety seal." 
Risk was eliminated before his generation 
entered the world, resulting in the irony of 
packaging often costing more to produce 
than the actual product. 

Mike has a bank account, credit cards, 
and most of the other technologically de- 
pendent devices which are predicted to 
malfunction on New Year's Day. He is, how- 
ever, willing to handle the problems which 
the potential failure of these conveniences 
may induce for the opportunity to experi- 
ence some genuine cataclysmal confusion. 
He does not present himself as the stereo- 
typical antisocial youth, but instead as a 
reasonable, well-educated man who has 

fown weary of the world trying to facilitate 
e problems of his life. This type of attitude 
evinces itself in other social mediums as 
well. Although Mike doesn't vote (" Why 
bother? Whatever side wins will have no 
effect on my life in any way. There aren't 
even issues any longer except for abortion." 
), the satisfaction in actually witnessing that 
things are being accomplished is enough to 
catapult a candidate to victory. It is the rea- 
son Mayor Giuliani of New York City will 
most likely win any office he runs for; no one 
cares about the integrity of what he accom- 
plishes, as long as he accomplishes some- 
thing and we can feel its effects. We need to 
feel changes; while we're waiting for the red 
light to stop traffic we remark to ourselves 
that we should no longer jaywalk because of 
the Mayor's recent proclamation, and we 
subsequently conclude that action has been 
taken. Giuliani could propose legislation for- 
bidding shoes and he would still win his 
next election, because people would think to 

themselves, "You know, I may enjoy wear- 
ing shoes, but this fella sure does get things 
done!" What was once sensational now oc- 
curs with such frequency that it has become 
banal. The past two decades, while teenag- 
ers of this nation were growing up and un- 
derstanding the world encompassing them, 
the concept of "Breaking News" has grown 
from the assassination of the President to 
coverage of Sonny Bono's funeral. By pre- 
senting each of these events as "Breaking 
News, ' theeventsthemselvesbecomeequiv- 
alent in terms of their significance. The pres- 
ence of information-school shootings, plane 
crashes, celebrity deaths, has become so ubiq- 
uitous to teenagers that it becomes assumed. 
Whereas their parents might respond with 
horror or shock, still assigning value to these 
tragedies, teenagers have seen it all before 
and too many times. 

Consequently, when teenagers witness 
the emotional response of both their parents 
and the rest of society to an event that seems 
to warrant no sympathy, they lose their re- 
spect for emotions. Just as teenagers cannot 
be expected to react to "Breaking News," 
they cannot be expected to react to emotion- 
al responses in the same manner as their 
parents either. Frequency begs sterilization, 
and this is why kids shoot strangers in the 
schools. — Matthew Monteleone 







I've never been anywhere near Seat- 
tle. The farthest northwest I've ever been is 
Port Orford, a small town just over the 
Oregon border, and that was only for the 
night. When the shit started to hit the fan in 
Seattle on November 30th, I was walking 
into Bound Together (famous Anarchist 
book shop, ana setting for many of my 
columns — Basically my only interaction 
with the outside world.) Jean Pauline, sev- 
enty-plus years old and still way more po- 
litically involved than you are, was work- 
ing the counter. She had the radio tuned to 
our local source of independent media, 
KPFA, and they were announcing that the 
meeting of the World Trade Organization 
had been canceled for the day due to mass 
protests. I was amazed. 

Like many people (including the Seat- 
tle Police department) I was not expecting 
the protesters to shut down the WTO I 
figured it'd be like most modern left deba- 
cles. Labor and the mainstream left would 
hold sanctioned rallies, and teach-ins, ex- 
plaining to themselves once again how just 

downright bad this WTO thing was, a cou- 
ple of hundred anarchists and other mili- 
tants would get arrested, and that'd be that. 
Thankfully I was wrong. We get so used to 
losing out here that I was amazed that we'd 
actually won something even if it was a 
small battle in a bigger war, and even if the 
WTO just meets in Jakarta next year where 
there isn't a chance in hell of protests like 
those in Seattle happening. 

We've devoted a large portion of this 
issue to the WTO, and even though I'm sure 
by the time this hits the newsstands, you'll 
have been inundated with at least a half a 
dozen other breaking news stories, I hope 
you take the time to read the reports of 
those who were on the streets up there. 
What they did was important on many 
levels. Not only did they succeed in shut- 
ting down the meeting for a day and put- 
ting the WTO in a position where it couldn't 
reach a single agreement, they got the 
evening news to talk about stuff like world 
trade and sweatshops, and those slimy bas- 
tards in their three-piece suits had to go on 
the news and explain why child labor is 
good for America. But they also showed 
themselves and the rest of us out here who 
didn't go that the radical left isn't just a 
dying romanticism, and that we can still 
have an impact. 

I was going to go into a long tirade on 
what I thought was strategically important 
about Seattle, but instead I think I'll just 
limit myself to these comments. 

The heroes of all this, if you ask me, 
aren't the kids who trashed Niketown and 
Starbucks, though I think trashing Nike- 
town and Starbucks are good things, but 
the people who held the streets of Down- 
town all day. Building barricades and com- 
ing back from tear gassing and concussion 
grenades (no small thing, trust me) time 
after time. Marauding bands of vandals 
didn't keep the WTO from meeting — these 
people holding downtown against massive 
policepressure did. 

This is not meant as a condemnation 
of violence, I am very pro- violence. There is 
nothing stupider than meeting police vio- 
lence with love, (and no, I don't care how 
it'll play on theevening news because it will 
never play well on the evening news, no 
matter now nice you are while they beat the 
shit out of you) but trashing stores is a side 
story in this, and arguing over the use of 
violence is a debate that will go on in radical 
circles long after I've left this mortal coil. 
I'm glad it cost Nike and Starbucks millions 
of dollars, I just wish as many cops had 
gotten hurt as protesters did. 
Stuff You Should Pay Attention To: 
1. I was going to talk about the October 
22nd anti-police brutality thing in this col- 
umn, but Seattle just seemed more impor- 
tant. Basic gist or column: No one but the 
police thinks police brutality is good, so 
protesting it is like protesting against child 
abuse. It's a non-issue used to make people 
feel good about themselves. You think it's 

bad that the cops beat up on people? So 

what. So does my Mom, that doesn t make 

her a radical. 

2. 1 have officially been herea year. Feels just 

like yesterday don't it? 

3. NEW ADDRESS: Sean Sullivan 

PO BOX 170394, San Francisco, CA 94117 



luitk amut cuwuj 

Lucky you! No philosophy from me 
this month, or at least, not too much. In- 
stead, I've got some old-fashioned remind- 
ers and plugs for contributions. This may 
not be the most exciting list imaginable, but 
hey, who makes this thing happen? You do. 
All right! 

MRR Family Theme Issue 

We are putting together a special is- 
sue about punks with kids. Since so many 
of us have questioned the institution of 
family, this collection of stories promises to 
be a good read. To represent the picture 
more fully, we aren't going to concentrate 
solely on the decision to have children, but 
also the decision not to, by including pieces 
from people who chose to give kids up for 
adoption, to have an abortion, to have a 
vasectomy or hysterectomy, or had other 
experiences along these lines. 

I have some vested interest in this 
topic — and when you thinkabout it, almost 
everyone does. "I'm never going to have 
children," has become a moniker of my age, 
and among many circles I've traveled in, 
almost uiversally assumed. I've always felt 
uneasy with that — it seemed to me there 
had to be one of two explanations for the 
consistency of that a ns wer. Perhaps it was a 
thoughtless borrowing of pessimistic gen- 
erational rhetoric — basically, that breeding 
was unfashionable. I hoped for the other 
answer, that punks' common rejection of 
parenthood cloaked serious personal or 
political conclusions they had made about 
their own role in the reproductive continu- 

And in fact, as I watch the more open- 
eyed people around me grow older, this 
second is proving more often to be the case. 
My friends have stories about why they 
assumed the position of parent, or about 
their equally well-founded decisions to 
erase that possibility. 

SI udying the choices about how to have 
children from people close to you (the first 

example being your parents') is the starting 
line from which, you can beigin to under- 
stand your own feelings about family. Is it 
fucked beyond redemption? Is it close to 
your heart? The decision not to have kids 
can also be fundamental in describing the 
course of your life. It can be a philisopnical 
and emotional commitment, like parent- 

It's my hope that hearing from some 
protagonists of wanted and unwanted preg- 
nancy, we can cut through some of the 
tabboos that now surround reproduction 
as well as abortion. Also, I expect to hear 
how people made these choices within the 
context of punk — in the sense of both a 
lifestyle and a philosophy. 

If you're a candidate for this topic, 
please contribute a piece by March 1st. 
Anonymity will be maintained if you like, 
though we'll also print glossy family por- 
traits with your maiden name, address, and 
social security number. See the ad on page 
five of this issue as a ha ndy visual reminder 

of the deadline. 

Technical stuff: we are looking for 
essays and narratives. The length is up to 
you, though somewhere between one and 
rive full type-written pages is best. Please 
send pieces in on a disk if at all possible, 
accompanied by a printed copy in case we 
have trouble opening the file. Photos and 
graphics are appreciated — let us know if 
you want them returned. Send pieces to our 
PO box, with "Family Issue" written on the 
envelope. Thanks. 

Scene, and Scene History Reports 

Keep sending us scene reports. Not 
only do they provide information for tour- 
ingbands and other interested parties (yes, 
people read them), they are also a forum to 
let trie world know about good (and not so 
good) shit going on in your area. Also, we 
are an international zine, and self-centered 
as we are, what goes on outside the US 
keeps us connected. 

Since the scene report forum is limit- 
ed, we will be printing additional, more in- 

depth reports in upcoming issues. These 
"Scene History Reports" will be more re- 
searched based, longer, and more in-depth, 
giving readers perspective about how a 
particular punk scene developed, and in 
what context. This will start next month, 
with Ivo's look at how rock n roll infiltrated 
and punk rock evolved in Bulgaria during 
the Communist regime. Even ifyou're from 
Iowa, where no Iron Curtains spot the prai- 
rie, consider taking a closer look at what 
influences led to your current scene. 
Back Issues 
A few weeks ago I purged the Mor- 
dam warehouse of back issues, tossed 'em 
into the Maximumrocknroller, and drove 
'em home, where they now populate more 
than their fair share of shelt space. In case 
you didn't know, if you buy three, the 
fourth's for free. We may up the bargain in 
the future, so watch the fine print on MRR's 
intro pages for more information. 
Contact me at: 


i T i i w : f^M j 

punch scuecae csaho**/ 


"V *» 



This release compiles the legendary political 
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.ss&ne reports 

,w**fc ,i 


BER 13-14 1999. 

Here's a story of what hap- 
pened in Helsinki, Finland, in mid- 
November 1999. If you think that 
all the good things from Finland 
already came and went in the '80s. 
you're wrong. We've had this leg- 
endary venue called LEPAKKO in 
the heart of Helsinki, two minutes 
from the central railway station, 
for 20 years. Lepakko was squat- 
ted by punks in 1979 and it has 
been a big part of the Finnish 
punk scene ever since. All the 
bands have played there and all 
the best shows took place there, 
starting from mighty Discharge 
back in the day.... Lots of bands 
had their rehearsal rooms there, 
bands like Lama. 000 (Nolla Nolla 
Nolla) and others. There was also 
a studio, a bar. a radio station and 
so much more. And so many good 
shows — I think 1 can say that 
every punk in Finland knows the 
place and has some memories from 
there.... So when we first heard 
the plans to tear our place down, 
it wasn't a very pleasant surprise. 
And why were they tearing it 
down?? Because someone needs 
wider highways and Nokia needs 
bigger parking lots and office 
buildings to research their rapid- 
ly growing telecommunicating 
stuff. And by now the place is 
gone, but we had a great funeral!!! 
There were not only Finnish peo- 
ple, but lots of Swedish people, 
some Germans, and even a hand- 
ful of people from the USA and 

When we first started to hear 
rumours about these Punk Fu- 
neral shows, it seemed impossible 
that some of the old bands from 
the '80s would play, bands that 
haven't been playing for 15 years 
or more. It was so exciting. Yes, 
lots of people say. "fuck re- 
unions." And that's exactly what 
I'd say. IF it's only for money- 
making or shit like that. But all 
the bands that played in these 
festivals got absolutely no money! 
All the bands came for free. They 
just wanted to respect Lepakko 

one more time, when it still was 
possible to do so. The original plan 
was to have a one-day event, a 
huge show on Saturday, the 14th 
of November, but so many bands 
wanted to play and lots of people 
were spending the weekend in Lep- 
akko anyway, so why not have 2- 
day festival-? And so we did. 

Friday the 13th of November 
was basically for the "new bands," 
bands that started and continue 
exist in the '90s. There were a 
couple of older bands too (like 
Valse Triste and Amen) and those 
bands had never quit, they've been 
playing all this time, though Amen 
have been extremely lazy or slow 
for the last two years. Some new 
bands were also introduced to the 
audience. Pax Americana played 
their first show there, punk rock 
with saxophones. Sounding like 
some old English bands, they were 
fresh and very much into what 
they were doing there. Lots of new 
bands played a good show; for 
some of them, it must have been 
the biggest show they've played so 
far. That Friday there were about 
500-600 people there and 13 
bands. That's quite a lot for one 
evening. Among the best shows 
was Amen (who haven't played 
live for over a year). Those guys 
aren't exactly straight- 
edge and thus they 
played quite early, and 
maybe because of that 
timing the show was ex- 
cellent - they ruled! 
Valse Triste also did 
very good job; they're al- 
ways crazy on stage, ev- 
erybody should see them 
at least once. Juggling 
Jugulars have played 
many shows and it real- 
ly can be heard in their 
playing; they totally play 
as a tight team and have 
some excellent records 
out too. Another band 
was Unkind, who play a 
kind of hc-anarcho- 
crust: they have a new 
split 7" with England's 
Police Bastard out on 
Fight Records. The next 
band Raivopant plays 
basic punk rock and 
have a couple of records 
out too. Diaspora is a 
rather new band with 
two female vocalists 
playing political anarcho 
crust with an LP coming 
out sooner or later, 
which they've already re- 
corded. I think they are 
going to slow down a lot 
because one of the vo- 

calists is a US citizen and she is 
going back to the States pretty 
soon, but she'll be back for the 
tour and all. Wasted just came 
back from their European tour and 
they play old US-style (hardcore) 
punk. They have a couple of 7"s 
that are still available and a new 
7" just out on Brown Records. 
Oheisvasara make their own 
punk-hc sound and is another 
band with dual vocals. A CD is 
available with some bonus stuff 
from the 7"s. Their previous vo- 
calist moved to England and is 
now doing some keyboards for the 
Stratford Mercenaries. Kansan- 
demokra'tia is another new Finn- 
ish band with young people in it; 
they have a 10" LP out on their 
own label. L.A.M.F. sounds like 
the Clash or the Pistols -their bass 
player must be a new incarnation 
of Sid Vicious- and they have a 
couple of CDs out. Katyrit is to- 
tally new band to me and lots of 
other people too... Tartunta's set 
was a surprise; another band had 
to cancel and these guys played 
instead. They look like all the clas- 
sic punks from Finland, with their 
studs and mohawks (of course) 
but they are young. No records or 
recordings available yet! 

But it wasn't for the Friday 

showcase that people were here. 
Everybody was there waiting for 
Saturday, and that night eventu- 
ally came. There were also 13 
bands on Saturday, so there 
should have been something for 
everybody. Over 1 .000 tickets were 
sold for that night and it was total 
chaos in 
front of 
doors. I 
that not 
came in- 
s \ d e 
and nev- 
er made 
it in- 
it was 
not that 
And lots 
of peo- 


pie didn't see anything because 
they passed out before the show 
even started. But at least they 
were there... The first band was 
Rytmihairio. one of the most bru- 
tal groups of Finnish thrashers, 
evil and a bit metallic thrash. The 
next act was Rytke. They play 
old-time punk rock with Finnish 
attitude and Finnish lyrics. I can't 
say it's exactly '77-style punk rock 
because these guys are a lot an- 
grier and crazier. Satkyoukke had 
a couple of good records in late 
'80s. but for some reason they 
were not playing the best set that 
they could. I was waiting for more 
from these guys because they can 

Olotila is not exactly an old 
band but they are quite popular in 
Finland, and that's why they 
played on Saturday. Punk rock 
with saxophone and dual vocals. 
They are very entertaining; they 
have many good songs and lots of 
people were waiting for these guys. 
Lots of young people too. because 
Olotila stopped playing together 
just few years ago and thus a big 
part of the audience had seen them 
before. The next act Neurovisio 

never actually released any 
records, but of cour se lots of bands 

never released so only some dem- 
os, et cetera, are available. I was 
quite surprised that they played 

here. Turun Tauti, Tervey- 
skeskus and Sekasorto all played 

like they used to play: Sekasorto 
had people wih big black 
flags on stage and the Ter- 
veyskeskus vocalist was 
almost too drunk... He 
would have been too drunk 
elsewhere, but this is Fin- 
land. It was nice to see 
Problems? on stage. These 
guys released their first LP 
in 1978 and their new 
record came out last year, 
so they have been doing 
this for a long time. Over 
the years they have been 
in different bands (some 
with Pelle Miljoona. anoth- 
er old name you must know 
from Finland if you are 
talking about punk rock) 
and sometimes Problems? 
haven't done much, but 
when they do. they do it 
well. They know how to play 
and how to entertain peo- 
ple. This punk rock is def- 
initely not outdated. 

Then came one of 
the bands 
lots of people 
were expect- 
ing to see. 

Kaaos. Well, what 

can I say? They were 

exactly the same as 

they were 15 years 

ago. Nappi. the bass 

player, played one 

song behind the 

bass amp and after 

that, took off his 

shirt and went to 

sleep. We didn't see 

him after that. Vo- 
calist Jakke was as 

drunk as always - I 

think he's never had 

a sober show, but 

so what? Would 

anyone even expect 

that? No. not from 

them, or at least I 

didn't... On the oth- 
er hand Sidney on 

guitar definitely 

knew what he was 

doing. He kind of 

kept the show going 

while the other guys 

acted just how we've 

come to expect them to act... This 

show was funny and lots of people 

say they were good. Of course they 

were good, especially since a big 

part of the audience were as drunk 
as the performers, so they under- 
stood each other very easily. But if 
you were waiting to see tight play- 
ing and good musicianship, then 
it might have been a disappoint- 
ment. Terveet Kadet played with 
the original line-up. and that was 
their first show with that line-up 
for... I don't even remember how 
many years. They didn't know how 
to play their songs, but I'm not 
sure if they did that on purpose or 
if they really couldn't play. They 
were teasing the audience and tell- 
ing the people how ugly they looked 
and all that. It was a show. They 
played only the old stuff, of course. 
They had 30 minutes to play and 
they played exactly 30 minutes. 
The last 15 minutes they played 
"No Fun" and a kind of improvised 
jazz version of it. And they stopped 
precisely when their 30 minutes 
were done. 

There were supposed to be 
some surprise acts -lots of people 
were hoping for Rattus or Lama- 
but they couldn't do it. One guy 
from Rattus is very religious and 
has been for a few years. God 
bless him! And one guy from Lama 
is living in England, so he couldn't 
make it. So who was this surprise 
then? It was CMX. a very big band 
in Finland. 
They started 
in the mid- 
'80s and re- 
leased their 
first 7" in 
1987 on 

They started 
as a hardcore 
punk band, 
but later they 
became and 
are now much 
more than 
that. And 

nowadays you 
can't really 
talk about 
CMX and 

hardcore in a 
same sen- 
tence... oops. 
I just did. 
They are very 


popular in Finland, very popular. 
They stopped playing live shows 
last summer. They are still releas- 
ing records, but don't play any 

more shows. And in Lepakko they 
only played songs from a couple of 
the first 7"s and from the first LP 
(called "Kolmikarki." on Bad Vu- 
gum. Bad- 10). These guys are 
professional musicians and per- 
formers and it was very pleasant 
to watch them playing again. 

After CMX's surprise act came 
Appendix. Appendix knew how to 


play their songs and how to per- 
form. They were probably the best 
band that night for me. The songs 
had at least as much power as 
they used to have and they sound- 
ed very good. They played songs 
from all their records. It was not 
that long ago, when they last 
played some shows. If I remember 
right, it was in 1993 when they 
played a couple of shows here and 
there, and I don't think that this is 
going to be the last time we see 
them playing. I hope not. 

The last band of the night was 
Riistetyt. It was almost same line- 
up as the one on the "Nightmares 
in Darkness" LP. so they played 
songs from that LP. a couple of 
songs from Skitsofrenia MLP and 
from "Raiskattu Tulevaisuus - 
Raped Future" LP. Nothing from 
the first two records. Good play- 
ing anyway and a real show. May- 
be at some point a bit like a cheesy, 
rockish show, but good anyway. 
The songs were good and they knew 
how to play, mostly. Riistetyt also 
released a new CD in 1999 on 
Propaganda. Actually, its the 
"Raped Future" LP. some Holy 
Dolls songs and three new ones. 
One of these songs is very, very 
good, another is a total Discharge 
rip-off from "Free speech..." 
though still good, and one is crap. 
I heard some talking about going 
into the studio: let's see if that 

ever happens and they release a 
record full of new songs... After 
Riistetyt we all sung (at least 
those of us who knew Finnish...) a 
song by Pelle Miljoona. It was 
called "Hyvaa yota maailma," 
which means "Goodnight to the 
world." Very emotional and touch- 
ing, it was a good way to end the 
festivals and Lepakko. Now there 

is a new 
place in 
Its not as 
good and 
it seems 
to be an- 
other old 
al hall or 
But may- 
be it'll 
grow in 
we'll see. 
be there, 
there will be a way to experience it 
all. Lots of profit was made be- 
cause the bands played for free. 
Some money was given to the as- 
sociation that had been running 
Lepakko. and now they are run- 
ning the new place Nosturi. Now 
we'll see how Nosturi can fill the 
empty space that Lepakko left in 
middle of Helsinki. It won't be easy, 
but it's worth trying. The rest of 
the money will be used to release 
a CD including live performances 
from most bands at the festivals. 

Maybe it'll even be a double CD. 
but check the ads in the future 
and one day the CD will be 
out... maybe even a video. Hope- 
fully the video will be also avail- 
able in an American version. Lots 
of old Finnish stuff has been re- 
cently rereleased on CDs by Krak- 
lund Records. They've released 
"Hardcore 83" (a comp with Rat- 
tus. Riistetyt. Bastards, Kansan 
uutiset. etc.. etc.. including a nev- 
er-released Vaurio 7"!!). Russia 
Bombs Finland (another comp with 
Kaaos. Riistetyt. Terveet Kadet, 
Bastards, Appendix, etc.. etc.). Ri- 
istetyt CD (with the Valtion vanki- 
na LP. Skitsofrenfa MLP and Tuo- 
miopaiva 7"). the complete Sens- 
uuri CD. the (almost) complete 
Varaus CD. the complete 013 CD. 
a Bastards CD (with the first LP. 
an EP and both comp and live 
tracks), and the Appendix's new 
MCD. And more is coming! Write 
and ask and be fast. Kraklund 
Records. P.O. Box 459. 65101 
Vaasa, Finland. 

If you have any questions 
about the Finnish scene. I can 
help or at least try my best. So 
write to me if you have a reason or 
an excuse to do it. Cheers. Markku 

Markku Hirvela. Asiakkaankatu 6 
B 31. 00930 Helsinki. Finalnd. 



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Report from the Ad Hoc Coalition for the Women's Political Rights 

Yesterday it was 9th of November, in some places also known as the International Day Against Fascism 
and Anti-Semitism. The Serbian parliament had a session in which the opposition parties submitted a demand 
for new elections. Therefore, for that day Belgrade students organisations, under the title "Protest" (about 8 
organizations), announced the protest march at 1 pm, while the oppositional political parties gathered in "Alli- 
ance for Changes" announced their protest at 3 pm. 

Feminists, from various NGO-s, organized around the Ad Hoc Coalition for Women's Political Rights. We 
chose this political occasion to print 6,000 leaflets, and distribute them on the streets of Belgrade. The leaflets 
state our basic demand for involvement in the decision making processes. 

Despite the constant rain and strong wind all day yesterday, several thousand students gathered at the 
students' protest. In their march the students walked by the faculty buildings in the center of the town: Technol- 
ogy, Engineering, Law... screaming "Get Out" - demanding the symbolical liberation of the Belgrade University. 

At one moment when we turned onto a rather narrow street, the police showed up from the front side and 
started to beat randomly... so everyone started to run. It turned the crowd into a panic. It was a fearful stam- 
pede with people pushing, screaming and falling. Only ten minutes later the brutal and severe police attack 
started again. Just when the students and citizens somehow exceeded their fearful panic and continued to walk, 
on the wide street in the front of the Yugoslav parliament, police forces started to push from the back. Again, 
running, wounds, anger and panic production. 

In the evening the feminists from the Ad Hoc Coalition met again. We noted: one thousand leaflets were 
distributed; three activists were hurt in a stampede; and, all of us felt at moments very bad, because of the 
Serbian political situation, and because some students were shouting to the police "Go to Kosovo" and "You are 
Ustashes" (Ustashes were Croat soldiers supporting German nazis in the Second World War) and in this way 
reproducing hatred and the "enemy.' 

The independent media in the evening reported that more than 50 students were wounded, some of them 
badly, but none of them went to the official hospital. On the regime's media there was not a single word about the 
protest and beating, only 10 minutes of hate speech about "Protest students"and how they are paid by NATO etc. 

Citizens that gathered at 3 pm for the opposition march were blocked by the police and were not allowed to 

walk the streets as planned. Also, more than 30 buses 
with citizens from different towns in Serbia were pre- 
vented from reaching Belgrade and joining the dem- 
onstrations. Police stopped them with the explanation 
that buses were not technically OK, and that "buses 
with protesters pollute the environment with exhaust 

Feminists from the Ad Hoc Coalition feel that 
at the moment on one side, the regime is ready to do 
anything to protesters: so shoot to beat to imprison ... 
since the police on the streets are those "specialists" 
who practised torturing Albanian citizens in Kosovo 
in the last ten years. On the other hand the regime 
knows that international public is monitoring 
Belgrade, waiting to get "Him" for Den Haag Tribu- 

The regime is also aware that many people are 
against them and as a result find low intensity tor- 
turing more efficient, such as: stopping buses; "only" 
beating and not imprisoning; making obstacles in ev- 
ery way for independent media, for example creating 
construction on places where protesters meet... etc 

Australian Civil Liberties 

Legislation was recently passed in the NSW 
lower house of Parliament which outlaws a key as- 
pect of grass roots and community/leftist/ anarchist 
organising. This entails putting up posters/flyers/ 
stickers etc to advertise gatherings, protests and 
events. Under this legisaltion, anyone from the per- 
son who puts up the poster, to the promoter of the 
event, to the printer, can be fined $300 per poster. 
In the next couple of weeks this legislation will be 
referred to the Upper House of Parliament for final 
approval. This legislation is aimed at strangling 
grass roots protests and organising, particularly 
during the Olympics (next year). It is intended to 
wipe-out the presence of grass roots organizing and 
give Big Business even greater advertising space, 
particularly in the case of their advertising in bus 

First hand coverage of the protests 
in Seattle on page81 


Thousands of Dutch Students on Strike 

Tens of thousands of Dutch secondary school students went on strike against gov- 
ernment education policy. The government "Phase Two" policy curtails education 
prematurely for many students. This year, the Dutch government was willing to 
spend much taxpayers' money on throwing NATO bombs on the Balkans; destroy- 
ing human lives, and also, eg, many schools. However, money for good schools in 
The Netherlands is a different matter ... 

There were big strikers' marches; including one of over 20.000 students 
and teachers in The Hague, the government city. This was much more than the 
organizers had expected. 

Dutch peace activists participated in the march. They distributed leaflets of soli- 
darity with the students; and also calling for solidarity with schools in Yugosla- 
via, by helping the OBJ (the Dutch Foundation for Reconstruction of Primary 
Schools in Yugoslavia). These leaflets were very eagerly accepted by the march- 
ers. Also, solidarity postcards with Yugoslav schools, and anti-war hrochures, were sold. Through the leaflets, 
thousands of students learned for the first time about the strike in Leposavic (Kosovo) on November 23. Stu- 
dents and workers protested Clinton's Kosovo visit there. Big business Dutch dailies had not mentioned that 

In The Hague, some students threw fruit and eggs at government politicians; and also at opposition 
politician Paul Rosenm* Green Left party leader, had supported NATO bombing this spring; to the dismay of 
many Green Left voters). The Special Mobile Police attacked peaceful demonstrators. At least sixteen students 
were arrested, according to RTL 4 television. 

The demonstration showed the spirit of resistance is not limited to the demonstrations against Clinton in 
the Balkans; or to Seattle, USA. 

Santa Busted in Canada 

Santa Claus and an elf were arrested at Queen's Park today after they attempted to deliver an anti-homelessness Christmas 
card to premier Mike Harris. They were charged with trespassing, and must go to court in January, 2000. 

Claus and about a dozen elves were outnumbered almost three-to-one by Metro Police, Queen's Park security and members of 
the Toronto Police Counter-intelligence and Anti-Terrorism Squad as the "hardly-dangerous-looking'' holiday group tried to deliver 
a 75-foot-long, 5-foot-high Xmas card to premier Harris. 

The card, which read, "Why is there no room at the inn?" featured the names of over 100 people who have died from homelessness, 
as well as the names of buildings experiencing above-guideline rent increases in Ontario. 

"Mr. Harris' policies have contributed to a massive increase in homelessness and hunger in Ontario," said Claus, aka Mat- 
thew Behrens, who pointed out that last night's closing of the Fort York Armoury has sent another 150 people onto the streets with 
nowhere' to go. "Homelessness is a crisis, and all levels of government must respond in a crisis-mode with a national affordable 
housing construction program." 

Police refused Santa Claus entry to Queen's Park, but eventually allowed an elf in escorted by MPPs Peter Kormos and 
Rosario Marchese. Mr. Harris was not in to receive the message. 

The group began their day at the Rental Housing Tribunal, where thousands of evictions are processed every month, and 
proceeded to Queen's Park under a massive banner that read: "Homelessness is a National Disgrace." 

As they were departing from Queen's Park, Santa Claus 
(Behrens) and his trusty Elf Don (Don Johnston) were surrounded 
in a police dragnet of officers on bikes, cruisers, a police jeep and a 
police wagon, arrested, and charged. They will contest the charges 
upon completion of their busy December 24 schedule. 
- Toronto Action for Social Change 

Thousands of Women March in 

San Cristobal de las Casas, Mexico, Nov 24 (EFE).- 
Thousands of Zapatista indigenous and Mestizo 
women marched Wednesday through the streets of 
San Cristobal to demand respect for their dignity 
and rights. 

The march which, according to the organizers, 
attracted about 7,000 people, was spearheaded by 
suvivors of the December 1997 Acteal massacre, in 
which a paramilitary group murdered 45 Indians. 

The demonstration, which included mostly 
women from dozens of indigenous communities that 
sympathize with the Zapatista National Liberation 
Army (EZLN), called on the local government to "end 
repression and harassment" of the guerrilla women. 

On their signs, the women rejected the repres- 
sive policies of Gov. Roberto Albores Guillen and in- 
vited U.N. High Commissioner for Human Rights 
Mary Robinson to visit Acteal. 

One of the march leaders said that, "the dig- 
nity of women cannot continue to be trampled on 
by Mexican soldiers and by paramilitary groups." 

MAXIMUMROCNNROLL: "Bringing you the finest in yellow journalism since 1981' 


Fascists Buy Village in Spain 

"El Pais," Spain's largest newspaper opened its Sunday front page (14-Nov-99) with the headline "English Nazi 
Group Buys Abandoned Village in Spain." (Perhaps just by chance, next Saturday, 20th November, marks the date 
that both Franco and Primo de Rivera — founder of the fascist Falange— died.) Anarchists will remember 20th Novem- 
ber as the birthdate of Durriti. 

The purchasers of the village are the "International Third Position (ITP)." The village they have bought is "Los 
Pedriches," 92 km. from the provincial capital, Valencia. It is basically a small hamlet, of eight houses, of which ITP 
has bought seven from the original owners, the last of which moved away to seek employment in the cities twenty 
years ago. ITP is rebuilding the hamlet with a permanent population of four, which receives visits from Spanish, 
British and other European fascist groups. ITP received funding from a British religious organisation, "St. Michael 
Archangel," which contributed 1.820.000 pts (7000 pounds) towards the purchase of this town. 

"El Pais" reports that Spanish and European fascist groups have tried in the past to buy other villages in Spain, 
in the region of Aragon, without success. (Aragon has a large number of ghost towns, or abandoned villages, due to the 
reservoirs built in the past.) 

ITP was one of Scotland Yard's main suspects during the recent bomfoings of gay bars in Soho last summer. El 
Pais also states that ITP owns three villages in France. 

It would appear that ITP purchases these villages 
in order to find safe places in which to meet without po- 
lice harrassment, and for shooting/etc, practice. 

ITP, together with the Austrian FPOE (of Jorg 
Haider), Nouvelle Resistence (France), Fiamma Tricolore 
(Italy), Scottish and Spanish fascist groups recently held 
a meeting (September) in London. Some of these groups 
will also meet in Madrid next November 20th to com- 
memorate Franco's death. 

Mexicans Protest at U.S. 


MEXICO CITY (AP) - Saturday December 11 8:16 PM ET 
Rocks and fireworks flew from a crowd of demonstrators in 
front of the U.S. Embassy on Saturday, setting off a clash 
with riot police in Mexico City's famed Zona Rosa tourist dis- 

The protest started with several hundred university 
students gathering in front of the embassy, shouting for the 
release of demonstrators arrested during the recent World 
Trade Organization meeting in Seattle and to demand the 
release of former Black Panther Mumia Abu Jamal. 

Most of the protesters appeared to be radical members 
of the General Strike Committee of the National Autonomous 
University, whose 268,000 students have been on strike since 

Local radio stations reported that at least three pho- 
tographers were injured by rocks or by police and about 40 
people were detained, 

Abu Jamal faces a death sentence for the 1981 shoot- 
ing of a Philadelphia police officer. Some leftists organiza- 
tions claim he was framed for the killing. 

Some protesters burned a U.S. flag, at least one fired a 
small rockets at the embassy and others hurled rocks at the 
building and at police guarding it. At least one window of the 
embassy was broken. Police then charged to disperse the 
crowd, dodging rocks and clubbing some protesters with their 
plastic shields. 

Chased by p'olice, hundreds of protesters fled across 
the tree-lined 14-lane Paseo de la Reforma boulevard, through 
the Zona Rosa, hurling rocks, smashing windows and paint- 
ing slogans such as "death to the evil government" on build- 
ing walls. 


Anarchist Gathering in Finland 

The biggest Finnish anarchist meeting, 
ecoanarchist black and green days will be 
organised llth-13th of february 2000. Ideas and 
propositions about program to adress: 

Montreal Anarchist Bookfair 

We are currently trying to organize 
Montreal's very first anarchist bookfair for the 1st 
week of May 2000. We will be staging a small tem- 
porary museum focusing on anarchism in 
Montreal, Quebec and Canada as well as else- 
where. We are looking for old anarchist zines 
(french,yiddish, english, Spanish), books, t-shirts, 
paraphanelia, posters, pins, photographs, films, 
etc from the turn of the century 'till today. If any- 
one is interested in helping us out, just contact 
Monique Laramee, Jean-Francois Hamilton 
( or Jaggi Singh at 

5th Annual Bay Area Anarchist Bookfair 

Golden Gate Hall of Flowers 

@ 9th Avenue & Lincoln Way 

15 April 2000 

10am 'till 6pm 

send all news items to: / po box 460760, san 

francisco, ca 94146 

by Neale 

Bill B. Baggins. 30. San Francisco: I'll 
probably just tip a few pints at me local 
and 1 hope that all the IRS files take a 
big fat shit on Uncle Sam's bed. 

Pooch, 24, San Luis Obispo 

I don't know fuck it I hate everybody. 
I'm not a part of any scene, I do my own 
thing. My mind is a machine, my bodyi 
is the bullets and the audience is the I 
target... Weird? I'll drink more piss thanj 
I did last year. 

Thomas, 31, San Francisco 

I'll be filling my doorway with sand- 
bags... No, I don't think so. 

Ten-ance and Phillip, 28 & 29, Not 
Sonoma Thank God 
We're gonna drink coolers in a smelly van with 
nine pathetic losers, watch some shitty bands 
make asses out of themselves and top thel 
night off by pouring beer on our heads... Our I 
friend Gil is gonna drink too many coolers! 
and he's gonna shit himself all night again. 

Brian Soda Sax, 24, El Granada 

I'm going to go on a killing spree with a 
thousand blood sucking termites... I 
think that all the rich are going to go into 
cardiac arrests because their computer 
chips in their hearts aren't Y2K compat- 

Karen, 32, San Francisco 

If you take my picture, I'll kick you in the nuts! 
(No one was hurt during the making of this 
"What's The Scoop") 

Spike Slawson, 14, Pittsburgh 

Post tribulation fundamentalist Christians 
anxious to hasten the day of reckoning will 
descend on the city of San Francisco in vast 
armies... I'll be in Pittsburgh. 

Pete, 27, San Francisco 

I'm not sure, I gotta go get a beer. I'll tell 
you before the night is over. 

Jeffrey "Ace", 33, San Francisco 

Take a piss... With any luck. 

John Cary, Ageless, SanBruno 

I'll command an army of mimes hellbent on 
taking over San Francisco and then the world! 
No spare change or shopping carts for the 
homeless of the world, no more cable or MTV. 
My silent mercenaries will overthrow every- 
thing... What? You mean weirder than a bunch 
of mimes attacking people? Ummm... no. 
















































■ >., . 

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26 songs recorded from 78 to '82. 


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"When we first started, people 
didn't think we were punk enough." 


don't get too much 
of that anymore." 

Towards An End hail from the 

out last April. This Fall, Lookout Records changed 
pace by releasing their 7", Change and Pass 
Through. Combining energy and emotion. Towt 
An End's music Is not the typical pop-punk wt 
used to hearing from Lookout. The Band puts on 
one of the best live shows around, and in addition 
to having something- to say. are a great bunch of 
guys. Their lineup is-: Todd (20): vocals, Mark (20): 
guitar, Drew (18): guitar. Darren (18): bass, and 
Mike (20): drums. I sat down with the guys and 
asked them some questions. Interview by Ethan 

MRR: You guys are known for hiving a strong Dl Y 
ethic. Is this something you strive for? 
Mike: To tell you the truth, I don't think it's some- 
thing that we are really conscious of. Imean. we've 
just done the things that we have g get 

where we are. 
Drew: We put out a couple of demos and were left 
with like five or six songs that wS %ally liked. You 
know, demos can only give a band so much recog- 
nition, so we decided to put out our own CDEP. 
Darren: It wasn't the hardest thing we've done. 
Mark: We had some people to help us out. and it got 
on the top tens of the local record stores. To us. it 
really seems like we 're doing the bare minimum, 
but the DIY ethic is something that's important to 

Todd: We handed out at least a thousand demos 
and we play for free all the time. I'm on the phone 
twenty-four hours a day. You get what you give: 
music is Just like anything else in life. 
MRR: For a while It seemed like punk was a very 
select style. Now lots of bands who don't fit the 
traditional definition are recognized as punk. 
What do you think about this? 
Mike: I do feel like there is a kind of New Punk out 
there. Not everything that gets recognized in the 
scene is like crust or thrash anymore. And I think 
that a lot of the indie or emo bands are a lot more 
punk-influenced these days. <• 
Mark: Sure, there are some'that are really punk 
rock bands, but the punk ethic hap really extended 
itself to these scenes: bands like Promise Ring 
decided to stay with their label, for example, even 
though they were getting offers. At The Drive In is 
a good example of the kind of new punk movemen 
Mike: Death by Stereo. Alkaline Trio, you know. , 
couple of years ago. I don't think they'd be getting 
a wide but now Ujey'rethe biggest thing. 

Todd: I Hjopie didn 't think we 

were p pi. We don 't get too much ot that 


MRR: Whi'fare your Influences, and to what 
degree? H ^S^^^-I 

Mike: 4t | what youMear inoycjnuSK, I think 
and ThmBet UpjOds^ere probably 

ingllkk the Pixies. ftjo. We all 
nds HkeWeezeranpRadiohead 
I'm sure you heatsome of that ■ 

that Alkaline 

the bi) 


love lis 

and thi 

as well! 

Mike: It reaM fcpdd mix ot 'bands. 

Darren; WoU 'Vied to categorize our 

it's no; ngtodo. 

Todd: EveptrVng'has an effect on me. I can 't get 

enough of bands like Refused and Death B/Stereo. 

But there art ialso a lot of laid back bands like' Pedro 

the Lion and Waxwing influencing me vocally as 

well. '--..'. 

MRR: You've been called a "happy band." Do you 

think people dismiss you on that premise? 

Mike: We do get a lot of that, and we do try to be a 

positive type of band, but if pebple call us happy 

they really are mistaken. The things that we write 

about come from some of the most painful things 

that have happened to us. From the loss of family 

members to family members who have never been 

there. We Ve lost friends and loves and every other 
type of person. And I know for a fact that everyone 
alive today has gone through the same things. We 
Just think that it's up to us to make the bast of all 
the things that come our way. Todd sings about 
growing and changing; it helps him get past these 

Mark: I don 't know why we 'd be chastised for being 
positive. I read this review of our CD where the guy* 
used the fact that it is positive against us. He sofa 
he'd rather be listening to... don't know, some 
band that was'ssing as hell. But hell, if that 
what you want. 

Drew: I guess that review says it all. Lotsotpeople 
refuse to enjoy themsfilves. 
MRR: Do you guys have a musical philosophy? 
Mark: We've tried to' actually sit down Wktualjf 
about the process. Lay 'down exactly what w ajmMj 
to happen. Those seem to be the timet 
least gets done. We just have fun ana 
come out. 

.Todd: It's like an easy children's puzzle. Once all 
the pieces get laid out. we just pui-them together. 
Mike: Todd writes alf the lyrics. His philosophy is to 
gel down what he thinks is the right solution to 
whatever he is going through, it really is a way for 
us to\see ourselves the way we want to be seen. 
And for the people who telate^to whatever he's 
s ingihg about to see their situanmto anew light as 
well. I know nothing makes Todd'hel better than 
when someone tells him that they \ed or 

changed by something he wrote. 
Todd: Yeah. 

''Mike: As far as the music goes, we just waW'to 
write something that's energetic, emotive, and a 
little, new or different in some way. ' t 
Todd: I think everything we've written has a sab, 

MRR: Your lyrics seem to mainly be about your 
own personal struggles or the struggles of some- 
one else. Do you have any political Interests? 
Mike: I think that those things can be Quite political. 
If we want to make some change in this world, we 
have to start with ourselves. There have been many 
pdlltical revolutions, end to no avail. The'r&needs 
to be mora of a focus^n social change: People are 

MRR: It has been said that one of the band's 
greatest strengths Is your live show. What makes 
a good live show? 

Mike: Enefgy in equal parts from the band and 
crowd. There have been times where we were 
playinga smeffsJiow or one out ofourelement. and 
the tfrdwdiXsrm Into it, bu . went off. 

S they 

oave been 

wgpkes while 

r paying and 

you have any memories of the best show 
you've played, or of a really bad one? 
\&Ug*&SB!F^ There a^^^Hptvs that stick 
W nSta were in tiny room 
ad shows, 1 1 
But there hai 

Mike: hsxt 

typical s 

great shows 


bands. aril 

for eh 






you the 



■d up. 



a set. 


When there Is agfv&and take goi ' both 

parties put their hearts into it. 
Mike: When we played with AFI and Good Riddance 
at Gilman. it was one of those times. That was a 
great show. 

MRR: What Is the best show you've ever seen? 
Mike: One shqty that totally embodies what we've 
been talking about is the Boy Sets Fire show at the 
Cooodrie in San Francisco. People there really got 
it, and so did* the band. Everyone left with the 
feeling that they were going to go home and change 

Todd: Pearl Jam, Halloween, 1993. That was reli- 
gious for me. 

MRR: What has ft been like working with Lookout 

Mike: Awesome. They are totally cool to their 
bands. We got to play at the Lookout Freakout with 
fundamentally creative, searching, and self-per- -.all the bands on the label. That was really cool. I 

But society would rather see allot humanity 
a well-oiled machine. Indtyfduallty doesnt 
"r much as far as society's- big picture is 

MRR: What do you think about the Internet revo- 
lution In temis.of the effect it has had on punk 

Darren: Get outside, Live a little. 

Todd: No kidding! 

Mike: I think it 's a,doub'le-edgeti sword, really. On 

the one hand, it is good when a band can get\ip a 

website to spread the word on their music or if they 

think they are going to make a video of the day. As 
far as the 7" we put out, they did a good job of 
putting it out on time. Now that the promotional 
gears are starting to turn, it should do pretty well. 
Todd: We've gotten to be pretty good friends with 
the people who work there, which is nice. I mean, 
it has to be a business relationship to some 
degree, but it's nice to be friends as well. 
Drew: One thing I thought was cool is that when we 
went to the office for the first time. Chris really 
stressed thattfriendship is stronger than any con- 
tract we couldKign. 

can form a support network to help book^tbursjJ!^ MRR: Aside from Lookout, you've had chances to 

what have you. But there really are a lot of nega- 
tives. The gossip circles are'terrible. People act like 
<e in a high school locker room. 

Drew: That Hind ot clique attitude is what the music 

is against. There isn't an excuse for it. 

MRR: Why Is the band called Towards An End? 

Mike: It's basically saying that iife is not the 

destination, but the journey. This kind of new wave 
' of goal-oriented thinking is really missing the point. 

We can almost watch our lives pass us by while we 

try jo achieve some goal. Then what? We're born, 
jjego to school, we work, get married, have kids, 
^retire, and die. It's no good. In reality it's not a bad 

timeline of events, as long as we enjoy what's 

happening to us as we go along. Towards An End is 

just about becoming a better person and being • 

aware of it while it's happening. 

MRR: Why Is your symbol a broken heart? 

Todd: I guess it's a combination of the things we 

sing about and our philosophy. Bad things happen. 

but life doesn't stop. 

play at another Bay Area staple, 924 Gilman St. 
What Is ft like being In the center of a kind of punk 
rock Mecca? 

Mike: "This ain't no Mecca man, this place is 
fucked. " (laughter) It 's really cool around here, but 
it Isn 't one bigafene. We have tike a hundred little 
scenes. A band can play at Gilman one week, and 
in the City the next, and have a completely differen t 
crowd. It's strange. 

Mike: Bands who cbm'e through here really love the 
place. I think Alkaline Trio was ■thinking about 
moving here once. They-haye a- song about SF. 
T: Jawbreaker was fromhere, so I think that there 
is a lot of-romantrcism surrounding that. 
MRR: Anything else you would like to say? 
Mark: Just to check out our CD and 7", and come 
see us play if we come to your town. Thanks. 
Mike: Goo goo g'joob. 

Todd: I'd just like to say the word "fuck, " really 
quick. There, now I feel better. I gotta tell ya. 
independent press, nothing like it. 

dibc. Based om that fact alums run 
know one of two thotos, ejtbxb 7hs 
baud is amazmo or tbeyhavemome 
tbamj08t about amy bamdom temp 
ft. Either way am interview was 
order but you'll bf pleased to know 
that tee first ib a lot closer to the 
truth. Interview by Jeb. 

B: Blake - Guitar K: Keeve - Bass 

MBR: The riaiT soestion is obvi- 
ous... What lid to yodb diidt 
bkcobd biimo a 7* pictohi disc? 
Was that yodb idia ob tbi la- 

K: It was Chris X*s (from Reptilian) idea. 
It came out really well, in my opinion. At 
first I was kinda apprehensive, because 
I was worried that our record (not to 
mention our first release, we never did 
any demos or anything) wouldn't be a 
strong enough release to warrant a pic- 
ture disc, but I'm glad we did it this 
way. Chris is going to put out a series of 
icture disc 7"s for other similar-styled 
ands, which I think is a cool idea. 
btally. A large part of why we start- 
i band is to basically explore 

leant to be a combination 
' individual musical tastes 
haped by our collective sense 
of humor. We are all very sar- 
astic people, and we 
hnve on dry humor. 

What abodt 
ax08t, bate, o0li- 
ne88... all tb08e clas- 
sic pom bocb theme8? 

K: Oh, we'll pass. We're not 
into worrying about that. For 
the most part, we feel like other 
bands have those bases already 
covered. There are bands who hit 
that side of it and do it very wel 
There's no point in us venturing into 
that realm. Actually, I take that 
back... we do have a few hateful 
songs, but to be honest, we'd prefer 
that they not be the primary focus of the 
band. We're more into laughing at 
things that deserve to be ridiculed. 

B: Most definitely. None of us are P.C., 
but that doesn't mean we are going to 
sing about racism or sexism for the 
sake of being abrasive. We're not really 
into the shock value thing either. Al- 
though I do think that A.C. has the 
bsolutely most hilarious song titles, 
hat really isn't our thing, shocking 
people just to be a shit, 
K: We've rtBwer really had to limit our- 
elves in terms of what we will make fun 
I... the way I figure it. there are enough 
people/things within the so-called "po- 

litically correct" realm to poke fun at 
that we don't need to venture into those 
other topics. Besides, bands of that na- 
ture, Anal Cunt in particular, hit on 
those topics with the sole purpose of 
being offensive. That's their main point, 
but not ours. We aren't trying to put 
anyone off, but instead proclaim that 
everybody should be able to laugh at 
themselves without getting too bent out 
of shape. Anal Cunt cracks me up be- 
cause they are achieving their pur- 

i n g 
a c 1 1 y 
think that 
racism, sex- 
violence, etc. 
but we also re- 

great. Of 

we don't 


ism, domestic 

are acceptable, 

alize that some peo- 

ple have a ten- dency to be oversensi- 
tive and look for something to be upset 
about. AC makes that easy for them. 

MRR: Yod soys look pbitty snaz- 

K: (Laughs) No way. That was a onetime 
only thing. We figured it would be a 
funny, unexpected way to celebrate 
Halloween. Unfortunately, we,were stu- 
pid enough to put that photo on the 
record insert, which has resulted in a " 
number of people thinking we were try- 
ing to be a black metal band. I'm pretty 
pissed about that whole black metal 
thing because of the way my corpse 
paint was applied. Our ex-guitar play- 
er's girlfriend did the paint, and I ended 
up looking like the Crow. Ugh. If we ever 
do anything with makeup again, I'm go- 
ing to try and make sure we all look like 
the Cure. Although I don't think anyone 
else inthe band would be down with 
that, unfortunately. 

MRR: A lot of bands who special- 

B: It really is kinda ridiculous, someone 
usually brings a riff (God I hate that 
word) to practice and we kinda go from 
there. Someone tweaks it a little, then it 
gets tweaked a little more, and then we 
screw around with it. We want the parts 
to our blast beats to stick out a little 
more than just a mesh of noise. 
K: This will probably come off sound- 
ing cliche but it is true... we don't 
put a whole lot of thought into how 
the finished product will sound. 
Usually, someone will bring a 
riff to practice and then we'll 
change it a million times until 
everyone is happy with it. We 
end up making our songs a lot 
more complicated than they need 
) be sometimes, but think that 
ht have something to do with why 
they don't degenerate into a blur. We 
try to only use blasts when they are 
really complimentary to the song... for 
instance, Eric tries to use different 
blasts and refuses to play a certain set 
of drum beats because they sound too 
generic, Any time we come up with a riff 
that sounds too much like something we 
listen to, we throw it out. Well, unless 
we set out to rip something off inten- 
tionally, hah. But even in those instanc- 
es, once we change everything around, 
it never sounds like what we originally 
intended for it to sound like. It's kind of „• 
like we put all of our ideas into the 
"Daybreak filter", and out comes the 
finished product. I'm kind of happy that 
we're so picky about the songs. This is 
part of the reason it takes us so long to 

write new songs, too. 

K: Yeah. We're always on the lookout, 
too. We've all mastered the art of the 
Record Store Backstab. which has 
come from years of practice on each 
other. Recently, we've gotten to the 
point that each of us has our own kind of 
niche in the record collecting universe 
and we usually end up not stepping on 
each other's toes. There is enough 
overlap between what all of us like that 
we could talk about music indefinitely, 
but at the same time, we have a hard 
time agreeing on what we all 5 would 
like to listen to at one particular time. 
Therefore, other than a few record sta- 
> pies, we are all searching out different 

stuff. I've traded copies of our record 
for a few records that I was really 
stoked on getting. People are really 
cool about that stuff. 

MRU: Ah interview wouldn't 


K: We have a few things 
planned right now. but the 
main two upcoming releas 
es are the split 7" with the 
Ultimate Warriors on Ro- 
bodog Records and the 
split LP with God- 
stomper. We're not 
100% sure who's do- 
ing the split with God- 
stomper yet, though. The 
split 7" is already recorded 
and should be out by January. 
The split LP is being written as we 

mrr: a lot or tbi band members 
sum to bi really into melodic 
ponk. Any chance we'll obi a pop 
pone daybreak becobd? 

K: Hah, none at all. Although there are 
some times in some of the songs where 
we diverge into some poppy stuff. I 
wouldn't say they're into melodic punk 
as much as I would say they're into ALL. 
Eric and Chris are very big ALL fans. 
B: What makes you say that, the De- 
scendants and ALL shirts? It's very pos- 
sible. We have toyed around with the 
idea of doing something 
different, I mean for the most part we all 
' like pop or melodic punk. I don't know if 

we could pull it off though. I mean we 
also like metal, hardcore, britpop, I 
mean we don't really care what genre a 
band is in, if they rock, they rock, 


B: I think it would be cool to do either 
the entire Group Sex record by the Cir- 
cle Jerks, or D.l.'s Horse Bites, Dog 

actually working on 

thing like that right 

We've never played 

in the past, basi- 

because we 

could never 

agree on 



e r 

sented all 
our tastes 
enough. It can 
hard to make 5 
happy, especially 
they all have distinct 
terms of musical taste, 
decided that we are going to have each 
member pick out a cover for the next 
record. My personal choice for the cov- 
er song is going to be "Transmission" 
by Joy Division. If it were up to me, we'd 
be doing Cure and Smiths and New 
Order covers for an entire record. But, 
once again, that won't swing with the 

o f 


be very 



agendas in 

So, we've 

rest of us. I think Eric plans on doing a 
Gorilla Biscuits cover, and Blake wants 
to do a Lawnmower Deth cover. I'm not 
sure what Tony or Chris are into doing. 

K: Well, I heard about a few. Unfortu- 
nately I couldn't see them because my 
power was out and my whole neighbor- 
hood was pitch black. The worst part is, 
I live in the basement of a house. So, 
after waking up to thunder in the middle 
of the night, I realized that I didn't have 
power, and had to stumble through the 
darkness of my house to get upstairs to 
figure out what the hell had happened. 
Natural disasters around here really eat 
it. We lose power once a month here. I 
think. Every time I want to do something 
cool, we get a goddamn hurricane and 
I can't do it. 

B: We had one come through re- 
cently, but it was pretty weak, 
it just rained a little and the 
wind blew a little. I was 
hoping the power would 
go out so I could get out 
of work early. 

MRR: If yoo coold 


K: They would definitely be 
friends. While I could go on all 
day listing great singers from 
bands I look up that I would, want to 
do guest vocals on our next record, 
I think I'd be the most stoked to have 
Rich Johnson (the Index, Enemy Soil), 
JR Hayes (Pig Destroyer), and Emeyle 
Sacapuntas (Akuma, Sacapuntas 
Records) do guest vocals on the next 
record. They are all amazing vocalists 
and really sound awesome in totally dif- 
ferent ways. Actually, scratch that. I'd 
trade all three of them to have Morris- 
sey, Ian Curtis, and Robert Smith sing a 
few lines in one of our songs. 
B: .Morrissey, Billy Milano, and Jason 
from Samiam. 

MRR: Any last words? 

K: Yeah, I guess I could use this space 
to promote our new website. It 
can be found at http: // 
daybreak.html at present, but it's going 
to be moved onto the Reptilian Records 
site very soon. They can be found at I 
can't think of anything else, I guess 
that's it. 

Teen Crud Combo are the best new band to 
come out of Toronto. They straddle the ga- 
rage and hardcore scenes paying special 
homage to a snottier side of punk rock 
reminiscent of the Dwarves or the 
Samoans - their mentors. An 
earlier Texas punk sound 
coupled with the brevity of 
hardcore sang structure 
and a "I just don't give a 
fuck" attitude, character- 
ize the group. This inter- 
view was conducted with the Teen 
Crud's on October 14th outside of 
their jam space. Interview by 
Stephen Perry. Photos by Noami 

have always loved and have always wanted to 

cover. Adrenalin O.D. 

MRR: Do you have anything recorded yet ? 

A: No. 

M: That's the next step. 


MRR: Who is In the band and what do you 

Allyson (A) - guhar. Jaime (J) - bass. Matt (Mt) 
- guitar, Nick (N) - vocals Mark (M) - drums 
MRR: Kow long has Teen Crud Combo been 
together ? 
A: A little over a year. 

MRR: How would you describe your sound to 
the uninitiated? For people who have never 
actually heard Teen Crud Combo, what would 
you say that you sound like ? 
A: I would say a heavy Motorheafffnfluence for 

M: You know when you play dodge ball and a ball 
is coming straight for your face and voi' 
freeze, you can't move? It hits you in the face. 
And tears come to your eyes. That's what It's 
kind of W 1 

J: That's What it feels like to experience one of 
our rockpfienomena. 
Mt: ThB kinder sound that scares 
seen somaBfflred faces, 
A: We worjafethe Dwarves, Wlwor 
torhead. Wb listen to Zeke. 
evident in oursound that we love; Zeke 
M: If it comes through, maybaVlh ]ust T the| 
sloppiness of it all, there is definitely a noOBo 
classic punk bands like the AngriSamoa 
Black Flag, The Nip Drivers. 
J: There is one person that keeps temng us that 
we sound like early MDC. but I just don't see it. 
N: Yeah, some guy came up to me after a show 
and told me that we sounded like Discharge, 
but he hadDown Syndrome so I didn't believe 

MRR: What covers did you do and why? 
N: We cover the Owarves because we like 

Mt: We did a whole Dwarves set for a prank. 
M: Because we played with Sub Pop bands who 
suck. Fuckin' Black Halos. And you can print 

Mt: Print it in "bold." 

N: And if you want a font, do it in "Chicago," 
M: We try and 
choose stuff that 
is not so obvious. 
Why be like May- 
hem Deluxe and 
play "Search and 
Destroy," "Ace of 
Spades" or "Kick 
out the Jams " 
J: Boring! 
N: We covered 
the Big Boys. 
We did a Void 

M: We covered 
Really Red. Love 
Texas punk, so 
that's always 
good. Love An- 
gry Samoans. 
Just really good 
punk rock that ' 

MRR: Do you have plans or offers to release 
your material ? 
N: We have plans. 

A: But whether those plans will go anywhere is 
another story. 

M: Our plans are to record as cheaply as 
possible in our jam space and just try and get 
a nice sound. 

MRR: Is someone actually slated to put stuff 
out by Teen Crud ? 

M: No. The only thing is that Simgn from Ugly 
Pop wants a song for a compilation, which we 
are probably holding up at this very moment. 
MRR: You play with a banner that says "Go 
Home and Practice." Where did the idea for 
that come from and what is the significance 
of it? 

M: The idea came from this little picture that I 
cut out of this cheesy rock paraphenalia book, 
which was filled with cheesy flying-V earrings 
and necklaces, and Beatles mirrors am 
whole bit, and I cue out this picture of these two 
musclehead guys with mullets and moustaches 
wearing these t-shirts and one of them wa9 
t "Tune it or die" and it had a picture of a guitar 
\nd the other 1 one had the skull and crossbones 
with "Go Home andPractice. " And their expres- 
sions were like serious about this. J 

And then I balled Mark out for throwing out 
le rest of the magazine because I want© 
get those t-shirts so we figured that we' would 
try and make it into a banner becaust 
wanted to do something with it. We debuted 
that at the big wrestling show. It was the only 
show we headlined and it was flag-worthy, so 
we put it up "Go Home and Practice." It can 
apply to a lot of situations, but there is certainly; 
a lot of irony with the banner. It can be applied 
to us or it can be applied to others. 
MRR: What about songs like "Dirty Glam" 
and "Sissy Glasses?" 

N: We also write songs insulting people we 
don't like. We wrote a song called "Dirty Glam" 
about these glam rockers who don't deserve to 
be popular. Take that. MRR. We like to take 

shots at people. Potshots, cheap shots, if you 

MRR: I was noticing in the bathroom at the 
practice space there is some not-so-nice 
graffiti on the walls. You have recently gar- 
nered not too many fans 
from the glam scene, yet 
you have played shows with 
some of these local groups. 
What's this all about? How 
did the hate affair with the 
glam scene get started? 
jot started because there was this 
band called Robin Black and his Intergalactic 
Rock Star 
M: They went around thinking they were the 
'greatest thing since sliced bread and we saw 
their set and they sucked. 
A: So we realized that we had to book our next 
show opening for them. 
N: So we played with I ialloween and I 

got dressed up all glamy but really shitty. 
A: He gat dressed up as Robin Black. 
N: And we started off the set with Ziggy 
Stardust, really shoddily. and I disgustingly 

le lyrics to "Space Odyssey" over it. 
A: Which in itself is offensive enough 
M: This was during the whole "Velvet Goldmine" 

N: This was when glam was slated to make a 
reappearance, but of course since every fuckin' 
glam band Df the '90s is probably the worst 
thing to hit vinyl or CD or stage, it didn't work. 
Glam we started a rivalry with them 

and it has become silly. 
A: Because don't want to play back. 
play hard. 
I write stuff in the bathroom. 
A: In such a non-confrontational glam rock sort 
of way. 

M: We'll play any shows and definitely when you 
are playing a show where you don't belong and 
you know that people don't like you those are like 
really good shows. We played a ska show 

A: ...people thought we were the worst band 
!thatthey had ever seen in their lives. 
N: Women were spitting on me. What does 
that mean? 
MRR: How can people get in touch with you? 

■a to Teen Crud at: 
2D37 Dundas Street West / Toronto, ON / 
M6R 1 W8 or 
MRR: Are there any last comments? 
N: Yeah, every comment is worthy of a last 
comment.. A nail in our tombstone. Not that 
they put nails in tombstones. I'm gonna go 
comb my hair now. (Drops comb). Go to Mc- 
Donalds a& much a3 possible, go to Burger 
King as much as possible, go to Wal-mart as 
much as possible. 

J: When you are at McDonalds put in a request 
for the "Add Ba- 
con for $0.75." 
N: Yeah, and now 
you can "baconize" 
something at Mc- 
Donalds and eat 
as many animals 
as you can in one 
sitting, including 
house pets. 
A: And while you 
are at Mc- 
Donalds, request 
styrofoam con- 
tainers and put up 
a stink until you 
get one. 

N: And tell them to 
"supersize" it. 
A: Just the styro- 
foam and nothing 


First hand reports from the streets of 

Seattle will, I think, go down in the history books as the most 
important victory for the left in the last fifteen years. The following 
pieces are all (with one exception) first hand stories and opinions 
by some of the people who made up those crowds in the streets 
who shut down the most powerful trade organization in the world. 
These repots largely contradict those in the mainstream media 
(big surprise) and we thought it might be time to hear another side 
of the story. Underrepresented in this article are the labor and 
environmental groups that helped to swell the numbers; repre- 
sented quite well are the radical activists and Seattle citizens who 
suffered five days of tear gas and rubber bullets. Remember, these 
are only eight out of 50,000 stories. 

-Compiled by the MRR staff. Photos by Dan Halligan (DH) and Ivy 
McClelland (IM) 


■L On Monday. November 29th. I was 

« driving south on 1-5. Hanging from a huge crane 
and framing the city's skyline, a 400- foot ban- 
ner said. "WTO one way, DEMOCRACY an- 
other. " It should have been taken as a calling 
card to the city of Seattle and the WTO, but it 
wasn't. Vendors had already printed t-shirts 
saying "I survived the WTO," and a lot of us 
had taken the week off for months in advance 
in case of arrest. The clues were there, but 
they bet on apathy— in fact, that's why they 
chose Seattle. 

Seattle was to be the WTO's grand PR move, the corona- 
tion of free trade in a city that has benefited from it. Having shown 
almost no political pulse for over 25 years. Americans could be 
counted on, unlike the Europeans, to roll over and say, "Free trade? 
Sounds awfully patriotic to me. Wll it make POKEMON cheaper?" 
Instead, they got 65.000 people in the streets, all learning to re- 
spond to tear gas and rubber bullets with the same casual ambiva- 
lence as they might the rain. Oopsl 

Tuesday — or N30, as organizers called it — started out with a 
few hundred people setting up a blockade around the convention 
center. I got down there pretty early and people had chained them- 
selves to all sorts of permanent-looking metal things and to each 
other at the intersections. Riot cops ringed the convention center 
and stood in single lines across alleys around it. Protesters linked 
arms in front or them and someone started the dreaded hippie 
drum circle off in the distance. 

Then crowds started to build and diversify, and the energy 
got more intense. People would shout "Delegate!" and point to an 
aimless suit, and the crowd would push forward and surround him 
or her. After a little bit. that disintegrated into, "anyone with a suit 
gets it! " This was a perfectly noble sentiment in my book, because 
nobody was hurt but anger was expressed Just for a day, the 
corporate fucks that rule our world and walk our streets with the 
smug assumption that they are the "elite, " born to call the shots, 
had to deal with being targets. All the symbols of their status-Armani 
suits, Italian shoes, briefcases that could feed towns if pawned — 
instead of protecting them socially, now marked them for confron- 
tation. Again. I'd like to stress that nobody got hurt, although a 
delegate did hit someone and pull a handgun. 

By 9:30 AM the streets were filling. None of the delegates 
had gotten in yet. and the morning's opening ceremonies had been 
called off. Elation rippled through the crowd. People overturned 
newspaper racks just because they could and stood on them crow- 
ing victory. Then the police gassed the shit out of everybody block- 
ing the main intersections. They pulled off people's masks and 
glasses and pepper-sprayed them in the eyes and kicked them. 

Still people wouldn't leave. So they shot rubber bullets at them and 
gassed them again 

By the time the 45.000-plus labor march hit the area a couple of 
hours later, there were roughly 60-65.000 people in the streets and a 
single line of riot cops encircling the convention. If we had been "vio- 
lent" then, we could have pushed over the police lines and been in the 
conference munching bagels with Billy Bob Gates in two minutes. 
Instead we opted to get continually gassed for a few more hours. 
That's when the windows started to go. Niketown. The Gap. 
Nordstrom' s and Starbucks. Someone hit FAO Schwartz and scrawled, 
"Barbie Kills" all over it. "We are winning!" was written everywhere. 
At some point during all this, they finally got Kofi Annan, head of the 
UN. into the convention center— fashionably late by five hours. 

By evening, the National Guard had been called in and the cops 
had run out of tear gas. They got resupplied with military grade CS by 
undercovers in the crowd who ferried it through in back-packs. Then 
they broke lines, declared a "civil emergency" and began tear-gas- 
sing all intersections downtown and people marching. They pushed 
people in packs miles away from the downtown and into residential 
neighborhoods. It became illegal to gather almost anywhere in the 
inner city. The television media went wild with stories of vandalism 
and looting, and the general public seemed, at first,- to think that the 
protesters brought it on themselves by being "violent." 

Now, I know that a lot of folks think the "anarchists" who 

smashed windows were cool, and while they certainly had more fash- 
ion sense than the hippies or the union guys, what they did was tacti- 
cally fucked The cops had been tear-gassing and throwing concus- 
sion grenades at peaceful protesters for hours— they wanted a not. If 
there had been a riot, they could have had the National Guard and live 
ammo overturn the Constitution and EVERYONE WOULD BE COOL 
WITH iT IN TV LAND. At a public hearing in front of the city council a 
week after N30, two people testified that they saw some of the early 
window-breakers arresting people just hours later. In other words, 
undercovers in the crowd were trying to get shit started. Now who is 
more gullible and willing to tag along with that kind of stuff than a 

Four out of the top seven ranking police officers in Seattle re- 
signed. Assistant Police Chief Joyner said on his way out the door 
that, "The next time they hold one of those meetings it will have to be 
done in a country under military rule or capable of a 10,000 person 
police force. " Later in the week, the Seattle police marched to " thank 
the people who supported them. " Only about a hundred folks showed 
up To drive home the sanctity of American consumerism, the cops 
actually sold t-shirts saying, " I survived the Battle in Seattle" for 
fifteen bucks and donated the proceeds to good citizens for shopping 
in Downtown! It's OK, little Jimmy! Santa's not afraid of those scary 
protesters. C'mon, we'll all shop together!" 

But this is the point. What was really done? It may have been 
National Bitch Week with the amount of causes on the streets, but 
they did all relate. That said, WE SHUT DOWN THE WTO! We 
also found out that there really is an appropriate target for corpo- 
rate greed and oppression. But the best thing is the radicalizing of 
the unions, and their love affair with the freaks and fringe element. 
As one longshoreman said to me. "We know how to organize and 
shut things down, but these kids know how to scale cranes! It's so 
cool, the Teamsters and Turtles together at lastl 

Think of what we could do. " 
— Vanessa Veselka 

bunch of kids dressed like the German Autonomie, well-intentioned 
but easily fooled? The anarchists also used thousands of protesters 
sitting in front of the cops as shock troops. They gloried in me fact 
that they hadn't been arrested, never considering that they saved the 
police, our corporate paramilitary at the state level, from having to 
explain why they overturned the Constitution and declared martial law. 
If you think I'm being conspiratorial, read some more history, for 
christssake! We bombed our own ships in the Gulf of Tonkin to get 
the public to agree to a build-up in Vietnam! This is a standard tactia 
Nobody I talked to had any real problem with the destruction of 
Niketown. Actually, it was a beautiful and inspiring sight, but it would 
have been cool if they had done it before and after N30 to keep aware- 
ness up. instead of helping out the pigs so damn much. All that being 
said, you can read more in the next Rolling Stone, where they ve been 
immortalized in glossy corporate media. Maybe we'll get to see a 
sexy girl "anarchist" on the cover, scantily clad, our own radical Alanis. 
What this revolution needs is more models! Yeah, right. 

Anyway, martial law was declared. By Wednesday morning, the 
cops had taken signs away from the steelworkers and the Direct Ac- 
tion Network When crowds gathered to defend their right to protest, 
they looked like a mob, de-politicized and scraggly. The funny thing 
was, the more people they arrested, the more people there were. It 
seemed for a while that for every one person nabbed, two stood up, 
decided they weren't as apolitical as they thought, and joined in. Team- 
sters and Steelworkers marched arm in arm with punks and Greens 
dressed as sea turtles. It was as if all the mind-numbing. Prozac-rid- 
den, New Age, self-satisfied, can't-change-anything aura of the last 
fifteen years got blasted away. 

Meanwhile, back in the WTO, things weren't going so well. They 
had to cancel dinner. They had to skip the ballet. They couldn't go 
shopping. (Actually, no one could.) And they were having a hard time 
concentrating on how best to rule the world because they were stuck 
in a place that they had started calling "the bunker." 

The police terrorized people all day and all night, gassing and 
pepper-spraying pedestrians, merchants and protesters in a twelve 
square-mile area of Seattle. But people just wouldn't give up on the 
goofy idea that they should have some civil rights. Steelworkers openly 
accused the cops of being un-American and helped the punks and 
freaks blinded by tear gas get away. Almost 600 people were arrested 
by Thursday and public opinion was turning in favor of the protesters. 

Thursday night the jail sit-in started. Labor marched again. People 
chained themselves to the Westin Hotel, where delegates were meet- 
ing, and by Friday the third ministerial meeting of the WTO collapsed 
and American apathy was dead. 

My photos in this issue will hopefully 
give you a little taste of what went on in Seattle 
with the World Trade Organization protests in 
late November and early December. Needless 
to say, the mainstream media missed the boat. 
While they focused on vandalism by a few an- 
archist teenagers and quite a few high school 
kids that capitalized on the situation, they ig- 
nored many of the issues. 

The WTO is something a very diverse 
crowd of people are concerned about. Novem- 
ber 30th, they came together to march in uni- 
son and voice their concerns. Why are people 
concerned? The WTO can and has over-ruled environmental, health 
and safety standards. It tends to rule in the favor of large corpora- 
tions, rather than the average worker. Unbelievably, the Seattle 
protests drew together punks, hippies, longshoremen, environmen- 
talists, factory workers, farmers from around the world, Tibetan 
monks, anarchists, a wide variety of religious folks and tons more 
people. I think a lot of people just showed up on their own to show 
their frustration with large corporations and the control they have 
over our world's future. There is a general understanding that we 
have been moving for the past 20 years into a new world economy 
that's controlled more by corporations than people. People want a 
voice in the world to come, especially when they see environmen- 
tal, health, and labor laws getting overturned in favor of corporate 
profits. The WTO representatives are not elected; they often come 
from large corporations and industries, and "we the people" are 
being left out of the discussion that will indeed shape the world to 
come. We are just starting to stand up and say "What about us?" 
This protest was intended to draw attention to the WTO and to 
start getting people to realize what's been happening. A good 
40.000 people showed up for the big labor and environment march 
November 30th and a good 10-15,000 people were already down- 
town taking direct action or showing support for the cause before 
the labor march arrived. 

By 10 AM, the police were already using tear gas, pepper 
spray, wooden batons, and rubber bullets on peaceful protesters, 
but we still managed to shut out most of the delegates the first day 
of the conference. Yes a bunch of windows got spray painted and 
broken, but most only after the police began attacking the peace- 
ful protesters, and most of the damage targeted specific large cor- 
porations like Old Navy, Starbucks, and Niketown. By nightfall, 
the police forcefully took over downtown with a mammoth amount 
of effort and tear gas (they actually ran out). A curfew of 7 PM was 
put in place, a state of emergency was declared, the National Guard 
was called into action, and the city created a "No Protest Zone," 
basically outlawing the right to protest downtown. They later even 
made wearing a gas masks illegal. Tuesday through Thursday nights 
the police pushed smaller groups of peaceful protesters out of 
downtown into the Capital Hill area and then gassed the fuck out 
of them. They also managed to gas most of the residents, shop- 
pers, people walking out of clubs and restaurants and a city coun- 
cil member. The neighborhood is up in arms over what happened. 

Another council member, who happened to be Black, was stopped 
by police going to an official WTO function. When he showed his 
ID, they didn't believe him, pulled him from his car, threw his cell 
phone in the street, and hassled him before figuring out he was 
telling the truth. 

The police felt like their response wasn't as strong as it should 
have been Tuesday (which is crazy, because they were tear-gas- 
sing innocent people by 10 AM! I was tear-gassed and pepper- 
sprayed while taking photos from a public sidewalk), so Wednes- 
day they definitely took a tougher approach, arresting hundreds of 
people and tear-gassing, pepper-spraying, clubbing, and shooting 
rubber bullets at anyone and everyone that looked like a protester 
or gave them a little lip. Protests grew around the downtown jail 
each day and night and people negotiated with the police to get 
legal help into the protesters. Stories are still coming out about 
massive police abuses, including pepper-spraying people in lock- 
up, withholding medicine for two days from a protester with AIDS, 
and more basic things like not providing vegan food". The police 

huge set of trade laws that, prior to 1 995, were simply trade agree- 
ments. The first thing to understand about the WTO is that, unlike its 
predecessor GATT. the WTO's codes are enforceable international trea- 
ties. Member countries that break these codes (many of which will be 
discussed later) are subject to severe penalties. The trade laws that the 
WTO has created function to "lower trade barriers." "open 
markets." and "enforce intellectual property rights" (copyrights, trade- 
marks, patents) between member nations. In short, the WTO attempts 
to create "free-trade" between member countries by eliminating cer- 
tain protections that exist within each domestic economy. (I warned you 
that it was painful — don't worry, it gets exciting.) 

In case you either skipped or cheated in your high-school eco- 
nomics class, or if you have simply forgotten the principles of "trade 
barriers. " market access, and intellectual property rights, here are the 
basics. If you can bear with these next several paragraphs, you'll better 
understand "free trade" and the heart of the WTO. 

"Trade barriers " are simply three types of protective mechanisms 
that governments give their domestic enterprises. These protections 

Mk- k* ( 


1 *il 



chief has resigned in the wake of the WTO fiasco, and everyone is 
setting their sights on Mayor Schell. I just hope in the wake of all 
the vandalism and police getting out of control, that in the end ev- 
eryone will remember what started this all, the WTO. One final word, 
the punx in the Northwest came out in droves to the protests — it 
was totally awesome. There were members of probably 100 bands 
down there, crossing every genre and sub-genre and party line, all 
united against the corporations and the cops — that fucking rules! 
I've put a bunch more pictures from the protests on my website at: 
www. if you want to see more. — Dan Halligan 

Why We Were Mad in Seattle: How the 
I WTO is Organized, Operates, Intends to 

^^U^k Destroy You and the World You Liwe in 

J^f\ ^L> Immediately following WWII, afar-sighted 

jm ^^P*^f generation of elite capitalist leaders began con- 
lK Xj structing several international institutions that would 

A i Jr profoundly reconfigure the global economy. De- 
«^J P^ signed to rebuild state economies and determine 

^■H "rules of the road" for governments and their fu- 

^Plp^H ture (re)developrnent. the IMF, World Bank, and 
^* GATT were the most powerful — and potentially 
dangerous — economic agreements in the post-War 
1 era. Forty-five years later, Seattle exploded with 

masses of people who protested the range of abuses fostered by the 
most dubious current manifestation of one of these organizations. Es- 
tablished in 1 995. the World Trade Organization (WTO) replaced the 
General Agreement on Tariffs and Trade (GATT). exponentially increas- 
ing the former trade agreement's power and scope. 

For all of the media fanfare, the actual organization, processes, 
scope, and problems of the WTO have not been presented clearly. 
This article will attempt to explain what the WTO is. how it works, and 
how it pits the developed nations and corporate profits against devel- 
oping nations, workers, and the environment. As a piece of nearly cryptic 
international legislation, the WTO is painfully difficult to understand; as 
it is an internationally-binding treaty that has profound implications for 
most people and things in the world, it is important to try. 

The WTO consists of 135 nations and it serves to enforce a 

are domestic subsidies, export subsidies, and tariffs. Domestic subsi- 
dies are given to domestic industries in the process of production; ex- 
port subsidies are given to industries in the process of exporting goods; 
and, tariffs are taxes that are placed on import goods from other coun- 
tries. Taken together, these protections are designed to help domestic 
producers by strengthening their position in their own country and help- 
ing them compete in other countries. These protections are particularly 
important for developing countries because their industries are not as 
strong as those in the developed countries. 

Market access simply refers to how much a given country pro- 
tects its own domestic producers by giving them subsidies and impos- 
ing tariffs against other country's producers. If has country has strin- 
gent controls, it is said to have low market access, and vice versa. 

The WTO enforces "intellectual property rights" which is a ge- 
neric name for patents, copyrights, and trademarks. Although the legis- 
lation is still fuzzy, this means that member countries must honor the 
intellectual property of other member countries and provide royalties for 
product usage in the same way that royalties are enforced in domestic 

Once again, the primary focus of the WTO is to eliminate or se- 
verely decrease domestic economic protections, increase market ac- 
cess, and further enforce intellectual property rights between member 
countries. Although more complicated, the bottom-line for this move 
toward "free" trade is to allow large multinational corporations to oper- 
ate and sell their goods in other countries without being challenged by 
smaller domestic industries or taxed in the form of tariffs. The enforce- 
ment of intellectual property rights privileges corporations that hold trade- 
marks, copyrights, and patents by forcing every member nation to abide 
by these rights and pay the according royalties. It is important to under- 
stand that the WTO represents nations and their corporate lobbies. The 
most powerful nations within the WTO — the US. Japan, Canada, and 
the countries of the European Union — have the most dominant corpora- 
tions and the greatest vested interest in supporting their interests. 

If the WTO codes simply served to obliterate competition for large 
multinational corporations by eliminating domestic economic protections, 
it would likely have slipped under most every activist's radar screen. 
Indeed, prior to 1 995 under the GATT codes, the trade agreement was 
largely unnoticed. However, when the GATT turned into the WTO in 
1995 and the "Uruguay Round" (the negotiations for the WTO took 

labor's interests. Secondly, while the de- 
cisions of the WTO are of great conse- 
quence for workers, the environment, and 
consumers, the decision-making process 
operates in secret. Maybe you have heard 
people like Clinton and others sing a tune 
that goes like this: "we need more open- 
ness, more transparency, and democracy 
in the WTO. " Of course this is bullshit 
aimed at mollifying critics, but what he is 
referring to is the secretive process of the 
WTO. Documents, hearings, and briefs in 
the WTO are confidential. Furthermore, 
only national governments, with the input 
of corporate lobbies, are allowed to par- 
ticipate in and appeal decisions. There is 
not a single labor, environmental, or social 
representative in the WTO. Lastly, al- 
though each country has one vote, the 
Quad countries — Japan. US. European 
Union, and Canada— set most of the agen- 
das for discussions and make the most 
powerful proposals. Moreover, after pro- 
posals have been made, these countries 
determine which other countries they want 
to negotiate with regarding these propos- 

«by ten x.n. rmr^timm 

BATONS AM) BUBBfcB WMf flft?.*, 

place in Uruguay) codes took affect, the power and range of the organi- 
zation took an exponential leap. The new WTO included a huge list of 
"non-tariff barriers to trade" that it intended to eliminate within the do- 
mestic economies of member countries. These "non-tariff barriers to 
trade," which were primarily lobbied for by multinational corporations, 
include food safety laws, product standards, tax laws, investment poli- 
cies, and environmental standards. Here we begin to see why everyone 
from labor unions to punks to environmentalists to weirdo Christians 
tumed-up in Seattle. 

You have probably read or heard that the WTO interferes with 
national sovereignty and reverses countries' domestic legislation. Well, 
it does. Here is how it does and where these "non-tariff barriers to 
trade" come into effect. Because the WTO is an enforceable interna- 
tional treaty, member countries must oblige its accords or face severe 
trade penalties. Again, when the WTO was GATT. it was an agreement 
rather than a treaty. Therefore, if a country violated one of its "rules" it 
would simply piss off the other countries. Under the WTO. member 
countries who have even minimal domestic standards in the form of 
labor and environmental legislation, product standards, or other domes- 
tic laws must rescind those laws if other countries prove that they un- 
fairly interfere with "free'' trade. There is a "dispute settlemeCit 
body" within the WTO that listens to these cases and decides whether 
or not a country's domestic legislation "unfairly" discriminates against 
free-trade. The WTO cannot directly force a country to erase its domes- 
tic legislation, but it can allow other nations to impose severe economic 
and trade sanctions on the "offending" nation. Most countries, particu- 
larly developing countries, cannot afford these sanctions and revoke 
domestic legislation that the WTO deems unfair. 

I'm going to throw-out a few more concepts and then give some 
examples of how the WTO enforces its rulings and reverses even mini- 
mal domestic protections. 

Decisions in the WTO are made by consensus, and each country 
has one vote. Theoretically, any country can block any decision. How- 
ever, the WTO does not operate like your local collective, and its deci- 
sions are far from democratic. 

First of all. the only interests that are represented in the WTO 
decision-making process are corporate and governmental. Many of the 
actual WTO representatives are on the board of directors for various 
corporations. For example, Donald Fisher, the president of GAP, is the 
US WTO representative for textile trade and policy. That means that 
GAP and other clothing manufacturers' profits are represented, not 

als. The developing 
countries and their 
interests are usually 
not included in 
these negotiations 
because they are 
often at odds with 
what the developed 
countries want. Af- 
ter proposals are ne- 
gotiated, they are 
voted on by every 
member of the 
WTO. Therefore, if a 
proposal comes to a 
vote, all of the pow- 
erful countries have 
already met consen- 
sus about the issue, 

and the developing countries must vote for or against these dominant 
blocs. Technically, developing countries can veto decisions, however 
they usually cannot afford the political consequences of doing so. 

We've seen how the WTO destroys domestic competition and 
privileges multinational corporations, favors the developed countries and 
their corporate interests over developing countries and protective legis- 
lation, and how the decisions of the WTO are secretive and undemo- 
cratic. Keeping these principles in mind, we can look at examples of 
how domestic legislation has been undone due to WTO's rules about 

"non-tariff barriers to trade. " 

It is illegal for members of the WTO to have domestic legislation 
that sets limits or controls how things are manufactured, harvested, or 
otherwise produced. This is the prominent piece of legislation that most 
overtly defecates on the environment and workers. Here are some 
examples: in the well-publicized "shrimp/turtle case." four Asian nations 
challenged provisions of the US Endangered Species Act that required 
shrimp to be harvested with 

"turtle excluder devices." The Asian nations argued that this law un- 
fairly discriminated against Asian harvesting methods and that it was 
illegal in the WTO to legislate how goods are harvested or manufac- 
tured. The WTO appellate board agreed and prescribed sanctions against 
the US. Currently, the US is rewriting the provision to be WTO compliant. 

In another publicized case, the US challenged a European Union 
ban on the sale of beef from cattle that have been raised with certain 
bovine growth hormones. The US argued that the EU's ban unjustly 
discriminated against US agri-business, and that there was no scientific 
evidence that hormone-treated beef was dangerous. The WTO ruled in 
favor of the US and declared that the EU must change their legislation 
by May 13. 1999, or suffer severe sanctions. The EU will no longer be 
allowed to protect their farmers and consumers from hormone-treated 
beef, because it was ruled that the ban unfairly sets limits on production 

Venezuela, on behalf of its oil industry, challenged a US Clean Air 
Act regulation that required gas refiners to produce cleaner gas. The 
US regulation stipulated that foreign oil manufactures who sell gasoline 
to US markets must comply with certain EPA standards. The 
WTO agreed with Venezuela that the requirement was an unfair "non- 
tariff barrier to trade. " In 1 997. the EPA changed the Clean Air Act and 
erased this provision, acknowledging that this change "creates a poten- 
tial for adverse environmental impact. " 

There is a bizarre potential case that Japan wants to take to the 
WTO if intellectual property rights are further strengthened. A Japa- 
nese culinary corporation is arguing that it was the first producer of 
curry and that it has a patent on its further production and use. Certainly 
you are wondering if Japanese food actually uses curry and to be hon- 
est. I have no idea. Nonetheless, the point is this-, if intellectual property 
rights are further enforced. Japan has committed to press the WTO to 

that is relatively unprecedented. Fortunately, as the other articles in this 
section testify, people are now watching and fighting back. The WTO 
represents and enforces global capitalism in its most powerful and egre- 
gious form. Hopefully what happened in Seattle will be a growing move- 
ment rather than a glowing moment. It seems lame and cliche to say. 
but you have to do it yourselves. 
— Jason Crandell 

Violent Brick-throwing Anarchists? 

There has been a lot of talk in the media 
and in our own communities about those violent 
brick-throwing anarchists who disrupted the 
more peaceful protests at the WTO and are, ac- 
cording to some, to be held responsible for the 
violence that followed. The corporate media is 
creating the above myth, and many others, about 
what happened in Seattle. That is to be expected. 
Unfortunately, many of those same myths are 
being repeated in our own communities. These 
myths keep dialogue in our community at a very 
superficial level — for example, they do not allow for a distinction 
between violence to people and damage to property. While it is 


legislative codi- 
fication of capi- 
tal over labor in 
terms of global 

WTO, for all of 
its confusing legalese. serves to lubricate the 
bowels of global capitalism by eliminating domes- 
tic competition and assuring corporations that 
they do not have to conform to labor or environ- 
mental standards in the countries that they pro- 
duce, manufacture, or harvest their goods. There 
has been a profound shift in manufacturing from 
the First World to the Third World as corpora- 
tions have sought cheaper labor and lower envi- 
ronmental protections. This has pushed wages 
down in the developed countries, saddled de- 
veloping countries with grossly underpaid manu- 
facturing jobs, further destroyed the environment 
and greatly accelerated the profits of multina- 
tional corporations. The WTO has greased this 
shift by eliminating protective domestic legisla- 
tion and removing subsidies and tariffs. 

The WTO opens the doors for corpora- 
tions to more efficiently and fully pillage the en- 
vironment, escape or reverse domestic legisla- 
tion, and reap huge profits. In the process, you 
and the world you live in are fucked on a scale 

enforce the payment of royalties on ev- 
ery goddamn dish of curry that is served 
n restaurants of WTO member nations. 
Trust me. I'm not creative enough to 
have made up this story. 

With WTO regulations that stipu- 
late that domestic legislation cannot 
regulate how goods are produced, work- 
ers, particularly in developing nations, 
are unprotected. Labor is part of the 
manufacturing process. What we see 
therefore is the 

important to dialogue about what happened and what tactics were 
used, it is very important that we do not let media lies divide and 
dictate the scope of our discussion. In this article I hope to dispel 
some of these myths. 

In the past fifteen years, I have worked on everything from 
peace movement prayer vigils to large-scale riots both here and in 
Europe. To me, non-violence is a tactic (one that has been used 
very effectively at times), not a lifestyle. In Seattle I helped coordi- 
nate logistics for the actions and was thus in radio contact with the 
communications, legal and medical teams providing support. This 

position gave me an overview of many of the events that occurred. 
Myth #1 The police used tear gas. rubber bullets and beatings in 
response to property damage caused by the violent protesters. I 
remember clearly that the police first used tear gas when people 
had blockaded the limos of the delegates and the police realized 
that the WTO was really shut down. At that point they first attempted 
to move people by using fire extinguishers full of pepper spray. When 
it became clear that both the numbers and the tenacity of people 
was not going to make that possible, the police escalated to using 
increasingly violent tactics, such as beatings, tear gas, and con- 
cussion grenades. Even according to the police bands, the property 
damage by protesters occurred after their escalation. Also one of 
our lawyers saw a memo in the jail telling the police that we in- 
tended to fill the jails beyond their capacity using non-violent tac- 
tics. The memo discouraged arrests. So using the above violence 
to attempt to drive people out of downtown was part of their plan. 
This fact makes it clear that our effectiveness in shutting down the 
WTO was responsible for their escalation in violence, and not some 
windows getting smashed. 

Myth #2 The protesters were randomly destroying things with no 
sense of the issues involved. All of the damage seen in the media or 
by people was to large corporate chain stores, such as Starbucks, 
McDonalds, The Gap, Nike, Banks etc. Since issues surrounding 
the WTO are all about corporate interests versus those of regular 
people, damaging corporate property is very much related to why 
people came to Seattle. The fact that there have been no confirmed 
stories of small businesses getting destroyed shows that people 
were very exact in their aim. Comparing our actions to the damage 
done by the cops to both people and property makes it clear who 
was more random with their destruction. 

Myth #3 The protesters were violent. If there were thousands of 
violent protesters on the streets battling it out with the police, then 
where are all the injured cops? The only incident of injured police 
reported was one in which the cops were hit by one of their own 
vans. If large numbers of protesters had been truly intent on being 
violent toward the police, I am convinced there would have been 
injuries to cops. The amount of violence caused by the police both 
to protesters and to random citizens of Seattle is not even denied 
by the corporate media and was very evident to anyone near any of 
the clinics we set up. 

Myth #4 The violent protesters were disrespectful to non-violent 
protesters. The tensions between people in our movement, who 
believe in different tactics, are long-standing and in any frightening 
street situation they tend to be expressed. In my experience, there 

don't make those distinctions any more." I hope that this increased 
sense of cooperation continues, as it will only make us stronger. 
Myth#5 The protesters were a disorganized mob. If that is true, 
then how did we manage to shut down the WTO for five hours? 
How did we remain in the streets for days despite brutal attacks by 
the police, who have spend much time and money preparing for 
this event? How did we hold a squat for days? How did we help the 
police chief resign and probably ruin the career of the mayor? This 
myth is almost too absurd to address. It tries to turn our victory into 
an accident. Those of you who were there know that months of 
planning and organizing all over the country went into this action. 
That effort, and ten of the most amazing days of workshops and 
spokes council meetings, which coordinated thousands of people 
into affinity groups, helped create a mass action that people will 
remember for a long time to come. 

The above facts make it clear to me that the police violence 
was a direct result of our effectiveness in shutting down the WTO. 
Our actions, even the midst of a police riot, were well organized 
and our targets well chosen. On our part, little violence against 
people occurred. It is important that discussions about tactics con- 
tinue, but it seems more important that we distinguish between vio- 
lence against people and property damage (even th'en, between dam- 
age to corporate interests and small business). It is time we stop 
blaming each other for violence perpetrated by the state and start 
working together. The level of organization on the 30th was a large 
factor in making it possible to accomplish so much. To me the ac- 
tions against the WTO are not only a clear victory for us, but hope- 
fully also the beginning of continued cooperation between many 
different groups of people in our communities. 
— M. Vermont 

We Won! 

I was going to write a piece detailing what I 
did during the five days I was up in Seattle, but I 
decided instead I should gloat. 

The World Trade Organization's first meet- 
ing went virtually unnoticed. But its far-reaching ef- 
fects were felt even if people didn't know whose 
decisions were affecting them. A perfect example 
of the power of the WTO is NAFTA. Everyone is 
familiar with NAFTA, but how many people know it 
was originally drafted by the World Trade Organiza- 
tion? People are no longer going to put up with an 

is always disrespect shown by both sides, though what 
is always interesting to me is the violent tactics supposedly non- 
violent people will use in order to stop, not the destruction of people, 
but merely that of property. I saw some and heard of many more 
instances in which people damaging property were screamed at, 
threatened, grabbed, pushed, slapped, and punched by people out 
of our own community, who call themselves non-violent. However, 
to be fair, there was violence on both sides and as I mentioned, 
these conflicts are not new. What I found very inspiring, though, 
was that as the actions went on and people stayed in the streets 
together, in spite of the police brutality, many people showed each 
other more respect and engaged in dialogue that seemed to find 
common ground. There seemed to be an increased understanding 
on the part of many people that differences in tactics do not keep 
us from working together and that the real source of violence is the 
police and, by extension, the state. As one person in a meeting on 
Friday 12/3 expressed, when a representative from another group 
asked us to keep our violent friends away from their demo, "We 

unelected body of rich people making decisions 

that effect our every day lives. The WTO is so secure in its power that it 

doesn't even feel it is necessary to put up facades of democracy any 

more. But we threatened that security. 

We Won! Let Us Count the Ways We Won 

We won because we effectively stopped the first day of the World 
Trade Organization's meeting. We won because no matter how the me- 
dia tried to make us look bad, the pictures showed how unnecessarily 
brutal the cops were. We won because everyone is talking about the 
WTO and the demonstrations and people who knew nothing about the 
WTO before are asking important questions. We won because the chief 
of police in Seattle resigned. 

But the most important part of winning was that a new generation 
of radicals learned that we can win. That we do not need to go constantly 
to demos with 1 00 people and less. That we do not need to do this work 
solely for the purpose of carrying hope over to the next generation. Now 
we know that we can win. 

We have an important opportunity. We are in a moment of growth. 
We feel empowered. We need to take advantage of this opportunity and 
make sure we don't squander away this valuable chance we have by 
arguing amongst ourselves. 

Everyone I know on the left is arguing about property damage. It is 
something we need to work out inside the left. We need to learn how to 
deal with our differences internally and show a united front. 

To me it's obvious that property damage is a tactic that makes 
sense when you are fighting capitalism and multinational corporations. In 
my opinion, activists fighting capitalism cannot hold property as sacred 
without sacrificing what they're fighting for. 

But my opinion is besides the point. The point as I see it. is that if 
we are going to have a large growing movement we need to find a way to 
be respectful of each other both in terms of ideas and tactics. 

That goes both ways — it means the people who take part in prop- 
erty damage need to not partake of their tactics if there is already a group 
who is against those tactics engaged in action. But it also means that 
people who don't believe in property damage as a tactic need to get out 
of the way of people who do. It's kinda like the issue of abortion. If you 
don't believe in abortion, don't have one. but don't think that you should 
get to impose your beliefs on everyone else. The same thing holds true 
of property damage. If you don't believe in property damage, don't do it. 
but don't try to impose your beliefs on other people. Just get out of the 

So I want to end by reminding everyone to take a moment out of 
their busy schedules to rejoice To relish in victory. We do not. as a move- 
ment, feel this kind of success often enough, and part of remaining sus- 
tainable is remembering to pat ourselves on the back and celebrate our 

The WTO protests exceeded everyone's 
m expectations. As a participant in many demon- 

^|^^k strations over the last 1 5 years, I have to admit I've 

Jj^^^L gotten a little used to losing. You vow to "shut down" 
m. A<JB some evil thing or another, then get arrested or dis- 
persed quickly with little or no obvious effect. 
Ajf But tens of thousands of people came to Seattle 
**J P^ and actually shut down a whole day of WTO talks, 

HH^Ufi shed light on what the WTO is. advanced a growing 

^^^9^9 alliance between organized labor and environmen- 
talists, and made connections, contacts and plans 
for the future. So call me a junkie for immediate grati- 
fication, but it was one of the most hopeful and inspiring weeks of my 

tory globalism themselves (Nike — sweatshops, Old Navy — defores- 
tation, Starbucks — predatory chain store policies and the extension 
of monoculture). The mayor declared Martial Law, called in the Na- 
tional Guard and arrested as many people as he could while Bill Clinton 
was in town. Despite tear-gassing and police violence, anti-WTO dem- 
onstrations went on almost every hour of the day until the end of the 

Off the streets, an international counter-conference was held 
which discussed the impact of the WTO on the world. The WTO itself 
officially ended with squabbling and disagreements, no doubt partially 
brought on by the strength of the demonstrations. We can be assured 
that file WTO and the politics behind it aren't going away though. A 
counter-spin on the conference will probably be underway while this 
issue is being distributed, highlighting Bill Clinton as a champion of 
labor, Free Trade as good for "developing" countries and small farm- 
ers, protesters as violence-prone fanatics, and other silly ideas. 

The public discussion has already shifted from almost total igno- 
rance of the WTO to an acknowledgement that the WTO is undemo- 
cratic and needs reform or dismantling. As Ralph Nader put it in a 
speech at the counter-convention. "(WTO opponents) broke through 
to the media in a way that will never be suppressed again." 

Probably this will lead to token inclusion on some advisory board 
or another for right wing labor leaders (Jimmy Hoffa anyone?) and/or 
tamed, contrite, enviro-bureacrats. Combined with efforts to divide the 
growing labor/environmentalist alliance (The Alliance for Sustainable 
Jobs and the Environment, a Steelworker-Environmentalist alliance, 
was one of many groups on the frontlines November 30) this is what 
we need to be on guard for in the coming months. As a member of a 
worker-run health food store, a labor/environmentalist alliance in mi- 
crocosm, this alliance is something I've been desiring for years, with- 
out the hope it would actually happen in my lifetime. Seattle gave me 
that hope back. 
- Gordon Zola. 

Shotwell Plays Live at the Riots 

The WTO conference was finally coming 
to America and my friends and I weren't about to 
miss our chance to protest it. (The talks usually 
consist of ways to override existing laws that pro- 
tect labor rights as well as environmental and health 
issues in the interest of corporate greedl) Held in 
rainy Seattle the week of November 29 to De- 
cember 3, we arrived on the "eve of destruction" 




Though it usually operates in secret, every couple of years the 
WTO emerges from its hole like a rabid groundhog, looking for good 
press and photo ops while it tries to spread its virus of globalization 
and corporate control to the few parts of the world that remain rela- 
tively uninfected. Unlike Punxatawny Pete however, this year's appear- 
ance wasn't met by a bored and subservient press, but a hostile and 
educated group of people determined to use Seattle as a showcase for 
what is wrong with giving further power to government bureaucrats 
and tools of Western corporate capitalism to run the planet. 

Most anyone who was interested no doubt has heard or read 
about what happened on the streets of Seattle. Extremely well orga- 
nized affinity groups closed down the Seattle Convention Center and 
most of downtown, effectively canceling the first day of meetings. The 
police responded with tear gas and rubber bullets. Some downtown 
stores got trashed, mostly ones with well-publicized histories of preda- 

that would be Monday night. The first place we stopped was the 420 
space where Direct Action Network had its headquarters. Everyone 
in there was hustling about, preparing for the Protest of the Century. 
Everything from nonviolent protest workshops, to radio and medical 
support team meetings, to puppet and banner making, was going on 
all at once. I was impressed by the amount of work and organization 
that was going on there. 

We woke up at six a.m. to head over to the Seattle City Com- 
munity College on Broadway where people were amassing to march. 
It was one of many spots where people were meeting to eventually 
converge Downtown. As we marched and chanted, we got to a bridge 
and a few people started constructing this teepee/pole structure; this 
guy climbed up a rope to the top and sat up there while others locked 
themselves to the base of it. No cars were gonna get by that sucker! 
It was pretty amazing to see people from all walks of life come 

together for one cause, activists and non-activists alike. There were 
anarchists and environmentalists as well as labor and religious groups, 
and many more, to total a good 50.000 people taking over Downtown 
Seattle! The anarchists (Black Tornado) zoomed up and down the 
streets in a frenzy and left behind was a lot of broken windows and 
graffiti-filled walls. Stores like Nike. GAP. Adidas, Old Navy. 
Nordstrom's. Planet Hollywood, various banks, and the Disney Store 
were targeted. Conflict arose between the anarchists and other pro- 
testers who didn't approve of their work, calling it violent. 

But come on, people. Property damage and violence are two 
different things! Violence is when you get tear-gassed and shot with 
rubber bullets! I personally thought the vandalism was a great "Fuck 
You! " to the corporations that are making people's lives miserable all 
around the world. 

Some of the tactics used to prevent delegates from getting into 
the Convention Center included lock-downs and human chains at the 
intersections surrounding the WTO meetings. When a delegate was 
spotted, a group of protesters would run up to boo and hiss, but also 
hit with a battery of questions. Some delegates agreed with us, while 
others tried to get out of there as fast as possible. 

them walked over, 
asking, "What's go- 
ing on here?" "A 
birthday party," Ire- 
plied. "What the hell 
is this?" the cop 
said, pointing to the 
half-drunk keg. I 
smiled smugly and 
said, "root beer." 
With a disgusted 
look the cop said. "I 
don't care what it is, 
just put it away! " He 
also added that the 
music had to stop, 

so we told him that when the song was over, we would stop. That 
song lasted for a good twenty minutes! As the curfew came into ef- 
fect, we packed our gear and drove back to Direct Action Network 
headquarters. As we left the parking lot we had just played in. our 
friend jumped out and cut the wires to a news media truck! 
All in a good day's work, indeed! 

I was up there one week and in that week about 
five hundred protesters were arrested. We held a vigil in 
front of the jail until they were freed. The DAN met with 
the chief of police, the prosecutor and the mayor for about 
three days until they reached an agreement: everyone in- 
volved whose charges weren't dismissed was going to 
get a trial. People were gassed, beaten, and arrested, but 
that didn't stop us from shutting down the WTO! 
- Ivy McClelland 

Did I forget to mention the police that crawled through the streets 
of Downtown, looking like Robo Cops/Darth Vader? Still, we were 
able to pretty much take over the bulk of Downtown. The cops threw 
tear gas at us to try to make us leave, but when the air was cleared 
we just got right back up there. I was in the front lines during one of 
the gassings and got it bad. I could barely breath because my insides 
were burning, as well as my face. The friendly volunteer medics rushed 
over to pour water in my eyes and nose. Someone else gave me a 
mixture of lime juice and baking soda to neutralize the effects, which 
worked great. It was a warzone. I tell you. 

Yet in spite of that, celebration was taking place in the streets. 
The Teamsters had a sound system in front of the Westin which was 
blasting music. The anarchist drumming band was quite a sight, as 
they drummed in unison through the streets, all of them wearing gas 
masks. Puppets, chanters, singers and dancers mixed in with the waves 
of people going one way or another. At noon came the arrival of the 
sanctioned march that brought 40,000 people. 

A group of people managed to climb up the face of Niketown 
and were covering it in graffiti and signs. A friend of mine told me a 
news cameraman was filming the kids tearing down the Niketown. My 
friend said. "Hey, they don't have masks on, don't film them." The 
cameraman said, "If they're stupid enough to not wear masks. I'm 
gonna film them." My friend wielded a pair of wire cutters and soon 
the cameraman no longer had a picture! 

Throughout the day my friends spread the word that we were 
going to have a generator show with a keg right in the middle of Down- 
town, 8th and Pike to be exact. It was a free-for-all. Shotwell played, 
as well as random people who improvised, including some freestyle 
rappers. Protesters would stop in. nave a beer, and proceed to march. 
We had a front-row view of the riot police going by in armored person- 
nel carriers, throwing tear gas and concussion grenades at protesters 
as the seven PM curfew loomed nearer. 

After an hour and a half, the cops finally got curious and one of 

Report from one section of the 
- anarchist black bloc during 

.^L. Seattle's N30 

^ffl^^W On November 30, several 

^K ^^hm^t groups of individuals in black bloc at- 
tacked various corporate targets in 
^All downtown Seattle, 
^fl IL This activity lasted for over five 

hours and involved the breaking of 
^■B storefront windows and doors and de- 

^^^mw^^ facing of facades. Slingshots, newspa- 
per boxes, sledge hammers, mallets, 
crowbars and nail-pullers were used to 
strategically destroy corporate property and gain access (one of 
the three targeted Starbucks and Niketown were looted). Eggs filled 
with glass etching solution, paint-balls and spray-paint were also 

The black bloc was a loosely organized cluster of affinity groups 
and individuals who roamed around downtown, pulled this way by a 
vulnerable and significant storefront and that way by the sight of a 
police formation. Unlike the vast majority of activists who were pep- 
per-sprayed, tear-gassed and shot at with rubber bullets on several 
occasions, most of our section of the black bloc escaped serious 
injury by remaining constantly in motion and avoiding engagement 
with the police. We buddied up, kept tight and watched each oth- 
ers' backs. Those attacked by federal thugs were unarrested by 
quick-thinking and organized members of the black bloc. The sense 
of solidarity was awe inspiring. 

nately, the 
presence and 
persistence of 
"peace police" 
was quite dis- 
turbing. On at 
least six sepa- 
rate occasions, 
so-called "non- 
violent" activ- 
ists physically 
attacked indi- 

violent" activists physically attacked individuals who targeted cor- 
porate property. Some even went so far as to stand in front of the 
Niketown super store and tackle and shove the black bloc away. 
Indeed, such self-described "peace-keepers" posed a much greater 
threat to individuals in the black bloc than the notoriously violent 
uniformed "peace-keepers" sanctioned by the state (undercover of- 
ficers have even used the cover of the activist peace-keepers to 
ambush those who engage in corporate property destruction). 

Response to the black bloc has highlighted some of the con- 
tradictions and internal oppressions of the "nonviolent activist" com- 
munity. Aside from the obvious hypocrisy of those who engaged in 
violence against black-clad and masked people (many of whom were 
harassed despite the fact that they never engaged in property de- 
struction), there is the racism of privileged activists who can afford 
to ignore the violence perpetrated against the bulk of society and 
the natural world in the name of private property rights. Window- 
smashing has engaged and inspired many of the most oppressed 
members of Seattle's community more than any giant puppets or 
sea turtle costumes ever could (not to disparage the effectiveness 
of those tools in other communities). 

Here's a little something to dispel the myths that have been circu- 
lating about the N30 black bloc: 

1 . "They are all a bunch of Eugene anarchists." While a few may be 
anarchists from Eugene, we hail from all over the United States, 
including Seattle. In any case, most of us are familiar with local 
issues in Seattle (for instance, the 

recent occupation of downtown by some of the most nefarious of 
multinational retailers). 

2. "They are all followers of John Zerzan." A lot of rumors have 
been circulating that we are followers of John Zerzan, an anarcho- 
primitivist author from Eugene who advocates property destruction. 
While some of us may appreciate his writings and analyses, he is in 
no sense our leader, directly, indirectly, philosophically or other- 

3. "The mass public squat is the headquarters of the anarchists 
who destroyed property on November 30th." In reality, most of the 
people in the "Autonomous Zone" squat are residents of Seattle 
who have spent most of their time since its opening on the 28th in 
the squat. While they may know of one-another, the two groups are 
not co-extensive and in no case could the squat be considered the 
headquarters of people who destroyed property. 

4. "They escalated situations on the 30th, leading to the tear-gas- 
sing of passive, non-violent protesters." To answer this, we need 
only note that tear-gassing, pepper-spraying and the shooting of 
rubber bullets all began before the black blocs (as far as we know) 
started engaging in property destruction. In addition, we must re- 
sist the tendency to establish a causal relationship between police 
repression and protest in any form, whether it involved property 
destruction or not. The police are charged with protecting the inter- 
ests of the wealthy few and the blame for the violence cannot be 
placed upon those who protest those interests. 

5. Conversely: "They acted in response to the police repression." 
While this might be a more positive representation of the black bloc, 
it is nevertheless false. We refuse to be misconstrued as a purely 
reactionary force. While the logic of the black bloc may not make 
sense to some, it is in any case a pro-active logic. 

6. "They are a bunch of angry adolescent boys." Aside from the fact 

that it belies a disturbing ageism and sexism, it is false. Property 
destruction is not merely macho rabble-rousing or testosterone- 
laden angst release. Nor is it displaced and reactionary anger. It is 
strategically and specifically targeted direct action against corpo- 
rate interests. 

7. "They just want to fight." This is pretty absurd, and it conve- 
niently ignores the eagerness of "peace police" to fight us. Of all 
the groups engaging in direct action, the black bloc was perhaps 
the least interested in engaging the authorities and we certainly 
had no interest in fighting with other anti-WTO activists (despite 
some rather strong disagreements over tactics). 

8. "They are a chaotic, disorganized and opportunistic mob." While 
many of us could surely spend days arguing over what "chaotic" 
means, we were certainly not disorganized. The organization may 
have been fluid and dynamic, but it was tight. As for the charge of 
opportunism, it would be hard to imagine who of the thousands in 
attendance didn't take advantage of the opportunity created in Se- 
attle to advance their agenda. The question becomes, then, whether 
or not we helped create that opportunity and most of us certainly 
did (which leads us to the next myth): 

9. "They don't know the issues" or "they aren't activists who have 
been working on this." While we may riot be professional activists, 
we've all been working on this convergence in Seattle for months. 
Some of us did work in our home-towns and others came to Seattle 
months in advance to work on it. To be sure, we were responsible 
for many hundreds of people who came out on the streets on the 
30th, only a very small minority of which had anything to do with 
the black bloc. Most of us have been studying the effects of the 
global economy, genetic engineering, resource extraction, trans- 
portation, labor practices, elimination of indigenous autonomy, ani- 
mal rights and human rights and we've been doing activism on these 
issues for many years. We are neither ill-informed nor unexperi- 

10. "Masked anarchists are anti-democratic and secretive because 
they hide their identities." Let's face it (with or without a mask) — 
we aren't living in a democracy right now. If this week has not made 
it plain enough, let us remind you — we are living in a police state. 
People tell us that if we really think that we're right, we wouldn't be 
hiding behind masks. "The truth will prevail" is the assertion. While 
this is a fine and noble goal, it does not jive with the present reality. 
Those who pose the greatest threat to the interests of Capital and 
State will be persecuted. Some pacifists would have us accept this 
persecution gleefully. Others would tell us that it is a worthy sacri- 
fice. We are not so morose. Nor do we feel we have the privilege to 
accept persecution as a sacrifice: persecution to us is a daily inevi- 
tability and we treasure our few freedoms. To accept incarceration 
as a form of flattery betrays a large amount of "first world" privi- 
lege. We feel that an attack on private property is necessary if we 
are to rebuild a world which is useful, healthful and joyful for every- 
one. And this despite the fact that hypertrophied private property 
rights in this country translate into felony charges for any property 
destruction over $250. 


The primary purpose of this communique is to diffuse some of 
the aura of mystery that surrounds the black bloc and make some of 
its motivations more transparent, since our masks cannot be. 

We contend that property destruction is not a violent activity 
unless it destroys lives or causes pain in the process. By this defi- 
nition, private property — especially corporate private property — is 
itself infinitely more violent than any action taken against it. 

Private property should be distinguished from personal prop- 
erty. The latter is based upon use while the former is based upon 
trade. The premise of personal property is that each of us has what 
s/he needs. The premise of private property is that each of us has 
something that someone else needs or wants. In a society based 
on private property rights, those who are able to accrue more of 
what others need or want have greater power. By extension, they 
wield greater control over what others perceive as needs and de- 
sires, usually in the interest of increasing profit to themselves. 

Advocates of "free trade" would like to see this process to its 
logical conclusion: a network of a few industry monopolists with 
ultimate control over the lives of the everyone else. Advocates of 
"fair trade" would like to see this process mitigated by government 
regulations meant to superficially impose basic humanitarian stan- 
dards. As anarchists, we despise both positions. Private property — 
and capitalism, by extension — is intrinsically violent and repressive 
and cannot be reformed or mitigated. Whether the power of every- 
one is concentrated into the hands of a few corporate heads or 
diverted into a regulatory apparatus charged with mitigating the di- 

sasters of the latter, no one can be as free or as powerful as they 
could be in a non-hierarchical society. 

When we smash a window, we aim to destroy the thin veneer 
of legitimacy that surrounds private property rights. At the same 
time, we exorcise that set of violent and destructive social relation- 
ships which has been imbued in almost everything around us. By 
"destroying" private property, we convert its limited exchange value 
into an expanded use value. A storefront window becomes a vent to 
let some fresh air into the oppressive atmosphere of a retail outlet 
(at least until the police decide to tear-gas a nearby road blockade). 
A newspaper box becomes a tool for creating such vents or a small 
blockade for the reclamation of public space or an object to im- 
prove one's vantage point by standing on it. A dumpster becomes 
an obstruction to a phalanx of rioting cops and a source of heat and 
light. A building facade becomes a message board to record brain- 
storm ideas for a better world. 

After N30, many people will never see a shop window or a 
hammer the same way again. The potential uses of an entire 
cityscape have increased a thousand-fold. The number of broken 
windows pales in comparison to the number broken spells — spells 
cast by a corporate hegemony to lull us into forgetfulness of all the 
violence committed in the name of private property rights and of all 
the potential of a society without them. Broken windows can be 
boarded up (with yet more waste of our forests) and eventually re- 
placed, but the shattering of assumptions will hopefully persist for 
some time to come. 
Against Capital and State, 
the ACME Collective 

Disclaimer: these observations and analyses represent only those 
of the ACME Collective and should not be construed to be repre- 
sentative of the rest of the black bloc on N30 or anyone else who 
engaged in riot or property destruction that day. 

One Medic's Story 

jl We ran into the alley hoping to buy enough 

^•WVbl time to stop some of her bleeding and get a few 

mm^^^J^ gulps of air to soothe our own burning lungs. I had 
JF^^f^m l ust enough time to press a little gauze against my 
L^k JH patient's teeth and gums, now slick with blood, 

■ ^^fl before we were once again enveloped in a fog of 
A tear gas and pepper spray. The riot cops had dis- 
^k K^^^rQ covered our impromptu clinic and wasted no time 

^^JP^9 shutting it down. "Stop! This is a medical emer- 
gency!" called out another medic as he approached 
the line of police quickly advancing towards us 
through the alley. As he pleaded with the cops, two more tear gas 
canisters landed at his feet and rolled towards us. "Move," was all I 
needed to say and we ran again — snot pouring from our noses and 
into our throats, eyes streaming tears, our bodies trying frantically to 
resist the poisoned air. And still our patient bled from wounds we 
hadn't seen and struggled to breathe through a mouth full of blood 
and two lungs full of fire. 

This was not what I signed up for. When the folks at Direct 
Action Network told me that they needed medics for the WTO pro- 
tests, it seemed like a cool idea: activists with emergency medical 

skills would get together to treat injured protesters and help out if the 
police got violent. But now. the police were hunting us down— ac- 
tively stopping us from providing medical care to one of their victims. 

We made it out or the alley, hooked left onto Pine, and ducked 
into the doorway of some store that had decided to board itself up for 
the week. And as we sheltered within this fortification, time suspended 
for a moment and I silently cursed the system which affords more 
protection to merchandise than to people's lives. The luxury of con- 
templation didn't last. Sarah (which is what I'll call her because I really 
can't remember her name and wouldn't tell if I did) was sobbing anc 
snaking so hard that I couldn't even get a look into her mouth with my 
bike light. "Sarah... breathe.. ..breathe... breathe. Sarah" I repeatec 
this mantra as my partner Comet and a few others formed a humar 
barricade against tne insanity playing out up and down the block. As 
Sarah calmed down I was able to check out her injuries: a web ol 
lacerations woven inside her cheeks and along her gums; swollen anc 
bloodied lips: maybe some broken teeth; and all the signs of signifi 
cant up-close exposure to tear gas. As I stopped the worst or the 
bleeding and Comet rinsed her eyes. Sarah began to tell us what had 

She had spent most of her day occupying a downtown intersec- 
tion with other activists and protesters. Some people were' locked 
down, others were sitting in. and still more were standing in rows 
facing off with police. Sarah was praying. Kneeling on the asphalt, she 
prayed for peace. Twenty feet away, the cops braced for war. And 
when they started shooting tear gas and rubber bullets, Sarah kept 
praying with eyes closed and hands clasped together at her chest 
maintaining her stance of non-violence in the face of police brutality. 

Then, in their quest to seize the intersection, the Seattle police 
shot Sarah in the face with a tear gas canister. The metal can rico- 
cheted off of Sarah's face and landed just in front of her. pointing its 
stream of poison directly at her as she gasped in pain from the im- 
pact. "I was only praying, how could they do this? I was only pray- 

As Sarah repeated her question, six riot cops in gas masks 
pushed into our circle. "What are you doing here? " demanded one of 
the cops, yelling through his gas mask and face shield. "We're help- 
ing this woman, she's injured. " I replied — straining against my urge to 
smear the eye-holes of his gas mask with the blood soaked bandages 
I held in my hand. Another cop. cradling his baton, shook his head. 
"You people are out of control. " 

A doctor had joined our circle by this time and he agreed to take 
over Sarah's care. We moved towards the perimeter of the curfew 
area huddled around Sarah, reassuring her each time a concussion 
grenade exploded nearby. Comet and I had begun to rinse the gas 
and pepper spray out of our own eyes when we heard a man's frantic 
call coming from the clouded intersection behind us. "Medic. ...Medic! " 
Running back towards his voice we found a man on his hands and 
knees, gasping for breath and clutching his eyes... 

Later that night I slumped down on the couch where I was stay- 
ing to rest and consider our victory that day, the prices individuals 
paid for that victory, and the swift implementation of an overt police 
state in response to a peaceful protest. 

I focused in on the television — dutifully turned on and tuned in 
to a local news cast. 
As I absorbed the cov- 
erage of "unre- 
strained anarchy" and 
"roving bands of 
hoodlums," there on 
the screen was Sarah. 
She was kneeling in 
the street praying, just 
as she'd described to 
us earlier. The camera 
crew must have 
thought she'd make a 
potent image — ideal 
for the highlights. And 
as the police moved in 
against her group, the 
camera dutifully 
panned away. 
- Chris Martz 


note: no professional reporting was used in the making of this article 

This interuiew took 
place in an alley in North 
Beach Rugust 24th. Interuiew 
by Neale. Layout by Mundo. 

•> MRR: Tell me now Radio 

• Records began. 

i Johnny: Ulell when I was down 

don't censor, they can do what 
euer they want, I don't care. 
Also I do all the shipping, ac- 
counting, collecting, pay for it 
all, and pretty much euerything. 
Howeuer, one time the band 
helped me stuff some records 
into the sleeues, but I had to 



A in SB with The Undefeated, we 

recorded a tape for Ian at Chap- IJ) bribe them though. I bought flbe 

rl ter 11 up in Sonoma and uje ac- 

a new pair of sandals. He wore 

bunch of labels and 

we sucked and no 
one wanted to put 
our record out, so 
we figured might as 
I well do it ourselues 

..■ cause no one else 

• » 

,* wanted to. But then 

.J Chapter 11 decided 
■ m 
' to do it and when I 

moued back to 

Sonoma, Ian was 

still doing Chapter 
■fV 1 1 and I figured that 
"*••' it looked kinda fun and I was 

bored, so he kinda showed me 

the ropes. 
„ MRR: So he really helped 
.lj you out? 

Johnny: Veah, he gaue me a list 



'<■ his old pair out walking around 
in the rain for 4 straight dags 
mithout sleeping in the biggest 
a hailstorm that Sonoma had euer 
I seen, then he just huddled him- 
self up in a soggy, old gunny- 

has no real hair left, just spo- 
: radic patches on his scabbed up 
scalp. He has about 4 or 5 wigs 
that he uses, but I got him a new 
i curly haired wig. Finally, I got 
Harley some new leopard skin 
bikini underwear. He has the 
same pair of zebra skin ones on 
since the early 88's. 
MRR: That's nice of you. So, 

how many hours 
a week do you 
put into your la- 

Johnny: UJell, I work 
48 hours a week and 
on top of that I au- 

erage a couple hours 
a day on the label. 
MRR: IB to 15 
hours a week? 
Johnny: Veah, prob- 
ably 15 to 28. 
MRR: Ulhat are 

around the whole town. 

MRR: Veah, I heard about 

f — ' 

£) that. 

Johnny: By the end of the week, 



get the uinyl done and he basi- 
cally set me up with euerything. 
MRR: Do you do euerything 

yourselfforthe label? 

._. „ . . . ,. .. . | his feet looked like rotten roast 

Johnny: Veah, I do all the art 

. ... ,. „. . .,'*!■ beef. He must haue put 1BB8 

work, this , that... Uh basically, 

• *._ i i .... 'mk miles on those sandals. Then I 

the band sends me their tape !■ 

. , . ,. .. . , I bought Scott a new wiq. He has 

and I choose the sonas that 9 3 3 

J been going through chemo and 

some of the dag 
to day things that you do 
that the auerage person 
doesn't know about? 
Johnny: When you do euerything 
yourself, there's always some- 
thing that needs to be done. If 

to do the artwork or the label 
for it. There's always trying to 
get money from the distributors, 
i do a catalog, um coordinating 

n,s .ee« looiceo nice rouen roasx a thjngs pagjng pe()p|e 

beef. He must haue put 1888 \ M RR:Voudomailorderright? 

and I choose the songs that I 

want. Rnd with the artwork I 

Johnny: Veah, actually when I 
first started, all of these labels 
would call me up and say that 

H lacrr k i * sr \ t ia » «•:•, m t _k« 




f^wj TiiK:i;>n'Kii;S'nvi-K?!>i»^.mtJo 

TERS jpHl 

they wanted to trade, say 5 of 
mine for 5 of theirs. So ujhen I 
first started, I traded with euery- 
one so I ended up with a bunch of 
? crap (lauyhter). You know, a bunch 
of shitty music that I couldn't sell 
so... I'ue kinda stopped trading 

■ right now cause I haue stacks of 
other people's records that I can't 
sell, so I'd rather just try and sell 
my own stuff. If it's really some- 

. thing good then I'll trade, but in 
-A general I don't trade anymore 

■ cause... well I better not say. Too 
\ much crap in the bargain bin 
| (laughter). My bargain bin looks 
I like flbe's stack (laughter). 

N MRR:Whatdoyoudoforaliu- 
I ing anyhow? 

Johnny: I'm an engineer at a place 

that makes pumps. 
I MRR: With all this stuff that 
I you do: 40 hours a week at 

your job, your label, playing 

I in a band, etc., do you haue 
any free time? 
Johnny: I haue plenty of free time, 

■ I put my free time basically ahead 
of euerything. 

&i MRR: I know that, I think all 

team. The Radio Records bowling S 
team, we came in fast place last 
year. UJe also haue the Radio jj 
Records softball team that came 51 
in second to last place last year 
but we're getting better (laugh 
ter). I'm usually trying to keep g 
myself busy, but euerything in g 
Sonoma reuolues around alcohol. ~\ 

What haue you put out thus 


far and what are your future 


Johnny: Well, the first release tm 

was The Randumbs EP. Basically 

because Ian had set me up with 

he was gonna do a 7" with No 
One's Uictim so I just kinda took 
it ouer. But yeah, he ended up 
selling his label to another guy 
in The Randumbs for a Hustler, a 
pizza and a 12 pack (laughter). 
He still had like 280 CD's and a 
bunch of 7"s... Wait, it was a Hus- 
tler, a pack of smokes and a 12 
pack (laughter). 
MRR: Is this a real story? 
Johnny: Yeah, Mike Nouak. Chap- 
ter 1 1's aliue again! But Ian still 
kinda does work with him. I hear 
he still hasn't got his Hustler ei- 
ther (laughter). 




the promoters know that too 


right after work and get some la- : 

bel related things done so things 3 

don't stack up. 

MRR: What do you do with 

what free time that you t\ 


Johnny: Drink beer and collect 2 
; records. What else? Me, Scott and 3 
I a few friends are on a bowling » 

^ the label and also I figured, mine -I MRR . $|j RadJQ RecQrds f$ 
| as well start with a Sonoma band =J moreor|essforfun? 

that it would sell and that with j| doljlce58 B pressings of a 7". you 
I my first release I wouldn't haue | ^ make money 
| 588 records stuck on my shelf, | MRR . Vou - rcdoingsomefu „ 

i-jj start with because it sold really L J(jhnny: Vea „ by , he , |me |I|a| 
I well. What else? The Disappoint- | m$ js ^ tffaere ,„ be a Bodies 6 
ments from Pennsyluania. I'ue | so|)g cg £p The Shjfters fu|| 

I done 2 7" by them. The Shifters || lengtn . 0n and ,. m a(s0 doingT he 
| from San Francisco. I did a 7" with CN ^ fund Rabjes 7 „ Jhose g(jgs 

them and I'm doing a full length gj areabuncnof retards daughter). 

with them as well. There's also a ^ Tg|k abQut go(jr drunks .. ,, ue 
, 7" by No One's Uictim from Fresno , been dojng m$ |abe| for 2 , /2 
! who just put out a full length on Ok ^ f% nQu} ^ ,, M made squa , 
; Cyclone. That one was kinda tak- | Nq( |hat ^ |f| |f |o ma|ce money 

but I did run into a little gam- 

>M MRR: So Ian shows you the 1 progress 

ropes and hooks you up and 1 MRR . „ h nQ be , jt a|| on 

then you put him out of busi- |, b|ack? (|aughter) 

ness? (laughter) ft Johnng . yhe fjrst 4 Radj(J Records 

Johnny: I took ouer the Sonoma II releases got lost on snitty sports 
label scene (laughter).„No, I think 11 bets UJhjch |g U)hy from |hB 
that he was getting ouer it at the W N Q y record and <he second 0js _ 
time and it just so happens that j| appoinlments record , tnere was 

H5^ri? > 



like 9 months in between. I just 

I lost all my money (laughter)... 

I now I haue to do some CD's and 

5*1 get my money back. It takes 

about 3-4 7"s for them to start 

Babies... it's all people that I 

Hbe: (interrupting) If it's rare and 

„.., ... I it's raw, you better qet em while B< 

gil know already. But when you A 3 3 t 

haue no records out, no one re- 

on the ebay and rip you off. 

ally wants to do anything with ^, 

you, because they don't think g MHR:Bbe.u,hatdo H oull,«nk 

^2 I see some money. Vou don't haue |? thing. But after the first coup.e i| flbe: Besides his shi,, M tas,e in || 

pocket, they just re-generate I * people into doing records with jj S,Uff: The Shifters ' Bouuer UJon " I 

funds so it's time to do some 

MRR: What about distribu- 

haue good distribution? ■■ 

Johnny: I feel that I haue good ' 
distribution. I pretty much deal 
with the same distributors that 
eueryone else deals with. Euery- fcjS; 
one knows who the few ones out 5£ 
there that rip you off. But most 
are honest. m 

MBR: What's the process of g 

deciding what bands you're ^ 

gonna put out? Friends, word 


of mouth, demos... 

Johnny: The only band that has :jj 

been from a demo is The Disap- i S 

pointments. Euen though I'ue - 

gotten like IBB demos, 99 of * 

them haue been terrible. 

MRR: Do you get a lot of al- 

ternatiue shit and stuff like 

Johnny: No, mostly punk shit, but 
they all suck. Vou'd be amazed 

are out there (laughter). No 
demos though, they're no good. 
But most the stuff that I'ue done 
like The Randumbs, our band, The 
Shifters, that compilation with 

trick em into thinking that 
you're a real label (laughter). 
(Rt this point Hbe who's also in 
The Bodies shows up with a 
mouthful of soggy fishsticks 
that he found on the ground) 
Rbe: No matter what, you can 
count on some shitty graphics, 
care of Johnny's computer, 

Johnny: Rbe, he wants to know 
about our tours. 
Rbe: Biggest dud you'ue euer 
heard of (laughter) 
Johnny: We played 3 clubs in 3 
nights to a total of 25 people. 
Rbe: "Up to no good" was what 
it was suppose to be billed as, 
but it should of been called "the 
empty club tour". It sucked 
cause their band watched your 
band so you had to stick around 

bel, he's put out a few of his own 
bands, which equals dogshit! 
(laughter) Don't pay money for 

.1' bin before you know 
^(J Johnny: That's the best place to 
1 find my stuff. The dollar bin at 
i your local record store, (laughter) 
I MRR: Alright, any last words? 


Cumnists, bands, labels, etc., is to 

lighten up, haue a sense of hu- 

JJmor and quit taking euerything so 

damn seriously. It's all shitty 

.punk rock, it all sucks. Haue a 

!T"good time and quit worrying 

"JP about what other people are 

, ... t . _ . ... ^ qonna think. 

to watch their band and that i 3 

was the worst part (laughter). 

LlJe had to watch The Trust Fund 
Babies 3 nights in a row, noth- f3 

Radio Records: 
'--: PO Box 1452 

see the Trust Fund Babies 


goddamn more than once 


MRR: Alright, so any aduice 
to anyone starting a label? 
Johnny: Neuer... 

Sonoma CR 95476 




I'll admit it, 1 fucking love 
the retarded 7" single. I bad a job 
function a few years back tbat re- 
volved around endlessly shelving 
and rcshelving 7" singles, and 1 
- dklat mind one bit If you lo<* at 
the early davs of punk vinyl it is im- 
mediately clear that singles were the 
only way to go for great punk mo- 
ments; the number of totally great 
punk LPs is minute compared to the 
sea of spine-tingling 45s from the 
•70s and early 'Mis. Then something 
happened in the -80s. Singles start- 
ed to die off a Uttle bit, especially in 



Carolyn Keddy 

OBLIVIANS - "Call The Shots" 

My favorite band of the '90s. Their first single and the one that 
introduced me to them. Songs about your friends ( Jim Cole ) are 
cool and "No Reason To Live" is an instant classic. 
REATARDS - "You're So Lewd" 

It's so catchy, so trashy...ifs what would make my mother tell me 
to turn off that goddamn noise. Want to know what punk is? L.sten 

to this. ... _ 

MUMMIES - "Shltswllle" 

Single Life in the 90s 

l he Decade's 
Best 45s 

the Independent world. At least there 
were a lot fewer great ones. I really 
don't remember buying any new sin- 
gles in 1986 (to pick a year at ran- 
dom), just used DAMNED or FLIP- 
PER 45s. Then, when I was working 
at this indie music distributor 
around 1989. the buyer was ap- 

Eroached to pick up records by 
ands like PAVEMENT and the 
that the single started a big come- 
back right about then. Well, now it s 
the end of '90s and I'm wondering if 
we're looking at the end of the great 
punk 7" again. Don't get me wrong, 
there are still plenty of great ones 
coming out, but the 7" trickle I saw 
in 1990 turned Into a tidal wave of 
shit within a few years. 

As Mr. Mike Lucas puts it: 
"Okay, I'm sick and tired of sifting 
through bins to find ycr single that 
has a great a-side that's gonna ap- 
pear on the full-length anyway, and 
the b-side is some tossed-off cover; 
economy dictates that you skip the 
single and W8it for the LP, which is 
gonna have the great song anyway 
and you don't have to spend the four 
bucks. And if a year passes with no 
fall-length, then 1 go look up the sin- 
gle. Reduce, recycle and reuser The 
great ones are swept away by all the 
glorified demos and totally redun- 
dant 'postage stamps'. 

Well, this decade can hold 
some great punk 45s to its chest as 
the finng squad leveLs their rifles. I 
got a few know-it-alls together one 
afternoon to expound on the state of 
the nation that was. Turns out I'm 
really obnoxious when I'm drunk; 
why didn't anyone tell me? The as- 
sembled were Mike Lucas, Scott So- 
riano (courtesy of the Sacramento 
Tourist Advisory Board), Jeff Heer- 
mann and me, Rvan, with Arwen as 
a late arrival. The group could loose- 
ly be described as 'garage'-types we 
got some of our hardcore brethren 
to contribute, so you should take a 
look at the other article for their 

I should note that a certain 
percentage of these records were put 
out by bands that never seriously 
toured, or that put out only one sin- 
gle, so supposition and the enforced 
mystery oftbe unknown plays a role 
in'some of the descriptions that were 
contributed after the fact. The only 
rule on picks was: no more than two 
duplications with any other list It 
wasn't a problem; most of the lists 
are pretty personal in nature. So 
come up with yer own-. 



Some girls were making fun of my band (FORD) in the girl's , room 

at the Chameleon In SF while I was in there. I relayed the story to 

Trent and he said, "Isn't that great? Yeah, it is. 

MOTARDS - "I'm A Criminal" . 

The MOTARDS' best recording. The guitars sound so right. I hey 

never achieved this sound again. _,...„ 

CANDY SNATCHERS - "Fuck My family" 

It was hard to pick one of their singles. The CANDY SNATCHERS 

have a distinctive sound and Matthew is the best gurtar player in 

rock and roll. «,..■• 

BUNNY BRAINS - "For You I'd Kill" 

"bought this one because Tim Yohannon liked it. Then I became 
BUNNY BRAINS' Number One Fan. They even wrote a song about 

HOOKERS - "Kiss My Fuckin' Ass" 

The title says it all. All the bad elements of rock and roll. 

BRAINBOMBS - "No Place" 

Before the HELLACOPTERS and all that new Swedish nonsense 

was the BRAINBOMBS. The songs are mesmerizing, even though 

they are singing about sex and blood. 

PERSUADERS - "Hot Stix" 

I just love King Louies voice. „ n 

VECTORS - "Some Raging Rock «N' Roll" 

The most underrated band in San Francisco. Great songs, played 

with the perfect amount of attitude. I never missed a show. 

Icki Murmann 

CANDYGIRL - "Oh Jackie Boy" 

One of the best power-pop records ever. Amazingly catchy and 

CHINESE TAKEAWAY - "PlasUe Passion" 

From Germany; catchy, a little snotty and a tot offun. 
DICTATORS - 'Who Will Save Rock 'N' Roll?" 
The title says it all. This record can't be played loud enough... 
DIUINGER FOUR - "Higher Aspirations Tempered and 

This'islhefr'fifrt 7". Picking which was the best was hard, so I just 
went with their first. They're a great band and great group of guys. 
DISCOUNT - "Her Last Day" 
None of their singles are as good as their LPs. but th.s comes 

PINHEAD GUNPOWDER - "Trundle ft Spring" 

East Bay so-called super group, back when was still in the 
band and they were a little more raw. 

lUstmed to'this record countless times when it came out. Studied 
for finals with this, skated to it. Poppy without sacnficing any power. 
Their LP is even more amazing. 

Tffe D rfew*to!ch-bearers of the raw Texas trash sound. Once I 
dropped the needle on this record. I couldn't stop listening to .1. 
RONNIE FUJIYAMA - "Coney Island" 
The DEVIL DOGS plus 5-6-7-8's equal pure rock n roll b has. Two 
songs about Coney Island/New York that make me want to get fat 
on Nathan's hot dogs. 
TURBONEGRO - r, Get It On" 
One of the best bands of the decade. 

Jeff Heermann 

Their best, fastest and shortest record, before they fell into a formula and got wise to what they were 
doing (and found an audience). My copy was cracked and the hole was off-center, which only added to 
its charm. 

Ryan W. says: "To this day I am amazed that anything ever came out of South City, which really is one 
of the most nowhere suburban holes. " 

Mike L says: "Definitely the best Supercharger single: these are their best songs. If the GORIES had 
put out a single with their best song on it ("Feral"), it would be on my list. " 
LIGHTNING BEAT-MAN • "It's Hip to be Fucked Up" 

You said it, and nobody understands the depths that the human soul can plumb more deeply than Mr. 
Beatman himself. I said it once and I'll say it again; the guy dredges up more hatred, disgust and bile 
with a single bass guitar and vocals than METALLICA could with the aid of the San Francisco Sympho- 

Mike L says: "They also put out a really great gospel 45, Beam Me Up Jesus '. The next trend will be 
atheist gospel. " 

Scott S. says: "Jeez, I might hafta take the CHICKENHEAD single off. " 
TONIGHT- "1978" 

Leave it to the Japanese to turn an old BAGS cover ("Animal Call") inside out and back it up with two 
originals just as good. One of the crimes of the decade is that these kids never got around to releasing 
a full-length, but at least they spit out a couple singles (and one side of a split) before their amicable 

PIRHANAS - "Garbage Can" 

I give it such high marks 'cause it's a nasty garage punk record that doesn't rely on fucked-up cliches 
for its impact. An encouraging sign for the future, just when things looked their bleakest. ..there must 
have been another band with the same name by now. right? 
MAD 3 - "Invader" 

I actually prefer the MAD 3 over GUITAR WOLF, even though they're not really playing in the same 
sandbox and have even more in common visually than musically. Tough, mean and nimble like the best 
of DAVIE ALLAN or the surf band playing at the nearest Bar Mitzvah. Impassioned. The garbage-can 

R reduction that plagued the band at points hadn't taken over at this early point, nor had the Green 
ornet schtick. 
Mike L. says: "Very unfairly, these guys are seen in the shadow of GUITAR WOLF. They have their 
own thing going. People go, 'Well. GUITAR WOLF is the Japanese band I like. ' Limited vision. " 

One of the better 'fast' bands of the decade, and I'm not talking about hardcore or thrash of whatever 
dogfuck scene turns heads in 1999 (couldn't care less). Stylish and catchy. The perfect beginning for 
a band who hasn't put a foot wrong since '92. 

Some may prefer the REGISTRATORS, but there's no denying that TEENGENERATE ruled the play- 
ground in the mid-'90s. Great NERVOUS EATERS cover on the flipside, and one of their biggest and 
best hits on the front. 

HEADCOATEES - "Ballad of the Insolent Pup" 

I just think it's the best of all the mountain of HEADCOATS product, and I like to hear the COATEES' 
singing rather than Billy. The sleeper success story of the last five years. 
MUMMIES - "You Must Fight to live on the Planet of the Apes" 
Maybe it isn't the quintessential MUMMIES single (and they were a singles band, sonny, no mistake), 
I still dig it cause of the subject matter and the great cover of "I'm Down" on the flip. The fact that they 
chop an instrumental up into two equal segments ("White Caps" I and II) is only to be admired. 
BITCHSCHOOL - "Bitchschool Record Shop" 

This is really an honorary winner, in that they accept the prize on behalf of the RETARDOS, BRENT- 
WOODS, FEVERS and the rest of the South City/Peninsula crop that were such a prize from '95 
upwards. If you're gonna dig into the better singles of the '90s. this is an okay place to start... just be 
forewarned that you're gonna get in over your head pretty quick. 

Ryan Wells 

MOTARDS - "I'm A Criminal" 

When this one came out I was just starting to hit the wall with the '60s 'garage' explosion; this brought 
things back into focus for a lotta people. I think. Contemporize, mannnnnnn. Good shit sound, all three 
songs are great. I never saw them touch this live, they were just tooooo drunk. 
Scott S. says: "I think this one set the standard for lo-fi. This was the sound everyone was after for a 
while. " 


As Scott S. put it in our little record party, "It's a PAGANS single." These guys put out too many 
ordinary 45s, in my opinion, but this one stands up to repeated listens. My list isn't in order of prefer- 
ence, but this one could be my favorite of the decade. The flip is just a notch below, which means 

Scott S. says: "It just sounds like.. .there is nothing to remove, it's perfect. Listen to that second guitar, 
it's just mud." 

Jeff H. says: "The only thing to remove is the cover. " 
NEW BOMB TURKS - "So Cool, So Clear..." 

Some fools will go on and on about Sacramento being the 'Cleveland' of the '90s.. .how about Colum- 
bus? GAUNT didn't make my list (close tho'). but two others did. and this debut single set the stage for 
an ass-load of hype with this very mag's late editor-in-chief leading the charge. This one's got the 
hooks, the production and you can understand every word without a lyric sheet. And they're lyrics 
worth reading. 

LOS HUEVOS - "Rebel Kind" 
The Central Valley's finest hour since the early '80s. the ultimate combination of garage technology 



GREG-* 58 

1 uut IT BAD 


. ■•■-.• M» I 

VTiTDXi:' • 

and partially fruslrated hardcore intent Guitars squeal, the tempo is sloppy yet unrelenting and some 

fool attempts to jabber over the top of it all. This is my hardcore. 

REATARDS - •'Got Out of Our Way" 

This is thee personified frustrated teen angst punk single, for me. Spittin and shittin , with no clue as 

to how to escape. And the guitars just nail you. They haven't put out a bad one yet...and counting. 

They probably inspired more terrible bands than anyone this decade outside of BAD RELIGION. Ain't 

their fault they had talent, and the example provided was the punkest thing going for half the scene. 

You know, this is just a fucking catchy single. Bah. « 


All their singles kill with a sick energy that no one else in the '90s save MONOSHOCK tapped into; 

channeling the STOOGES without pandering, neat trick that. Does anyone know what pandering 

means anymore? I picked this 45 because the raw. audience-reactive sound on this LP proves they 

could reproduce the churn live, something I never got to witness. 

OBLIVIANS - "Static Party" , , , _. . . iU 

Gotta get one of the OBUVIANS 45s on there somewhere, taster s choice. This has the meanest 

ouitar sound of any of their records, and it's also the most viscous... I mean vicious. 


The "other' Columbus single. At the time an obscure unit that broke up before they could really get up 

a head of steam, then reformed and were kinda ordinary. This four-songer proves they were the real 

deal in the early part of the decade, with a singer who couldn t sing and a band sound with all the 

forward momentum of frozen cough syrup. When I hear lauded 'emo - bands featuring mama s boys 

deliberately straining to get that unattainable note, I slap this one on. Spasm Of Morality is up there 

with any ELECTRIC EELS song. 

THE STRIKE - "Victoria" , . . , 

English accents have always had their place in American punk. It works here because these kids were 

beating out the best mod-styled '77 punk of the decade. You could argue for the Danger 45, but mis 

one has four great songs instead of two: economics. 

Scott Soriano 

IfSacTfme'nto had" a band rfthe dfcade or at least the first half, it was the YAH-MOS (the BANANAS 
can have the second half). One of the all-time pissed-off teen-punk bands, the YAH-MOS upset jocks, 
patriotic skins and your garden variety dill-weed-and-please-punks punks from high school to retire- 
ment home. Why? Cuz where most bands just turn up and play fast, the YAH-MOS wrote great songs 
with very cool hooks stolen from Motown, the SMITHS, AM Oldies radio and their own suburb- 
damaqed heads. "Off Your Parents" is a perfect example of their skill and sound, five songs with ace 
playing and a vocal sneer that makes you look over your shoulder to see if it s really aimed at you. 
Shoot up your school, burn your church and blow up the government center; it s all here. 
Ryan W says: "Yeah, I saw these guys play at Epicenter to about 35 people and they were totally 
great, very wild. 

SPLAYED INNARDS - s/t _ , . ,„ .... , 

I am surprised that the package this came in wasn't soaked in snot. This early 80s Midwest-punk- 
style blast of indifference and smart-ass will have you pulling out your copy of Master Tape Vol. 
One" to see if these guys are on it. that is how good this record is. "We re a Bunch of Angry Teens 
explains half the INNARDS brilliance, while my personal anthem "Social Retard covers the other 
half. But lucky me, there are four more great songs with a bored-as-bread vocalist droning Abe 
Lincoln Gets His Chance" and 'Richard Gebhardt/Take me to Europe/Richard Gebhardt/AII covered 
with syrup ..' over a speedy guitar-driven backing. Iowa City has done their nation proud with this 
areat record. And if the band or members of same are out there: please, please get a hold of me! 
Ryan W. says: "Man, I put this on tapes for people to this day. Very left field, unexpected blast. That 

A hardcore fan I am not. at least not after 1983...bur there is no way I can deny this 9-song-strong 
stomp on the face. I remember taking this home after seeing them in a Sacto living room putting the 
record on the platter and reliving the bludgeoning I had just walked away from. I played this so loud 
and so often the neighbors were downright scared of me for months after. As much fun as breaking 


GIBSON BROTHERS - "White Nigger" 

The only problem with the AVENGERS' "White Nigger" is that they never got it right. And how could 
they with a fashion-queen debutante bleating it. and spare me the wooaaahs. Jeff Evans. Don How- 
land and crew turn this beaut into a raw, fucked-up working class anthem, more desperate and pow- 
erful than the soccer chants you hear nowadays. Three guitars on this pup. with Jon Spencer buzzing 
like a chain saw thru ice. And what a drunken jam on the flip! 
SUPERGRASS - "Caught By the Fuzz" 

Two perfect poppy punkers by a great, underrated band (in the US at least). "Caught By the Fuzz is 
one of the best growing-up songs ever and this indie 45 version is more punchy and raw than the LP. 
CHICKENHEAD - "Everything, Must Go" 

I can't think of any place less desirable to live than Florida: too many cars, endless suburbs, trat boys 
and Disney. Hot, humid and you sweat like a pig. And to top that off there is ska-punk So >s it any 
wonder that when the youth revolt, they churn out a trashed. cough-syrup-|agged thing like CHICK- 
ENHEAD This six-song piece of spite is a lesson to those who think that aggressive guitar means 
speed. Fuck that. Taking a page from BLACK FLAG and the STAINS, this guitar lizard squeaks, squeals 
and sprawls through classic fuck-yous. such as "Smash & Grab and Burn it Down . Viva la CHICK- 

Arwen says: "One of my all time favorite lines: 'Do you like my car? It was free, cuz I stole it." 
NAR - "Holiday Routine" 

Call NAR what you will: power-pop, punk, punk-pop, garage-pop. I II call them a lesson that more 

bands should learn. First you take a series of hooks and make them into a catchy song. You play 
them long enuff so they are down but still fresh. Then you grab Chris Woodhouse and tell him to 
record you raw and loud, like a garage band might record. You wind up with a hell of a record: more 
hummable than yer average garage 45, more gutsy than most power-pop and a hell of a lot more 
memorable than 99.9% of the pop-punk ever made. 

The only limeys that really punk out. Yeah, I know, Billy Childish, but the man is everywhere and this 
is better. Less controlled, more drunk and spiteful. Sure, the cover shows the guys dancin' with a 
sweet-lookin' bird, but the bash-around booziness of this stings like having to apologize for whatev- 
er you forgot you did the night before (see back sleeve). Aside from these guys, and teasin' eel- 
eating dirty limeys, I can't think of a single reason not to sink that blubbery barge called Britain. 

THE TIKI MEN - "Sneak A Drink With..." 

When all the other short-eyed schmoes were wimping out sorry surf guitar in 16-track studios and 
thousands of lame suit-wearing blue-boys were diggin their grooves, the TIKI MEN were hitting a 4- 
track in an abandoned bean-sprout factory and shaking wooden lofts with a low rumbling thunder. A 
classic without an equal and the best guitar-instro record of the last two/three decades and I dare 
you to argue. 

Oh yeah, and fuck your "Instrumental surf ain't punJ<". When is the last time you ever understood 
most of the words on a REGISTRATORS record? Didn't think so... 
NEIL HAMBURGER - "Bartender, the Laughs Are On Me" 

Who are you to say that comedy isn't punk? What else do you call getting poked in the eye while 
your tummy is being tickled? Okay, paradise, but beside that... All right, that wasn't funny. But we all 
can't be comedians. And that is why we have Neil Hamburger to remind you of that, you sorry putz. 
This is aggressively spiteful, very funny and you can mosh to it. 

Mike Lucas 

DETROIT COBRAS - "Village of Love" 

A good job on a cover (and not an obvious one at that) by a band with a (technically speaking, now) 

really good vocalist who doesn't oversing, a rare thing. Tim turned me onto this, said "You gotta hear 

this", did his little dance while playing air guitar. Dynamics anyone? 

Scott S. says: "This is punk rock you can fuck to, and no one would give a fuck!" 

Arwen says: "This is such a good record. Simple, sweet, rough, and very overlooked. What ever 

happened to the singer? 

TITANS - "Speed Queen Mama" 

Okay, full disclosure on this one. I put this thing out. I always thought they were a hot-shit band that 

was full-on punk rock and roll (whatever that means anymore) with a touch of rockabilly in the leads; 

not enough to make it with the psychobilly crowd, fell through the cracks. They only did the one 

West Coast tour so they are not as well known as their other Japanese brethren, Hot shit. 

LOLI & THE CHONES - "Makeout Party" 

They wrote great songs, stripping them down to the most elemental, possibly moronic, essences 

of.. .whatever. This was their first attempt to get 'production', hurrah. How can you go thru the '90s 

without a Rip Off record? 


PONCHARELLOS good, not Top Ten: GLOO GIRLS great! All-girl with a rumored off-stage male 

guitarist but no DONNAS backlash for them. All their singles are at least good, but this is the best 

one. A beautiful ending that makes me cry every time. The lone New York entry? 

DONNAS - "Let's Go Mano" 

An unbeatable single, all three songs. To all those sob sisters and fellow travelers crying about, "The 

DONNAS weren't writing their own songs in the beginning!" Well! I didn't see any of you people at 

any RAGGEDY ANNE or ELECTROCUTES shows supporting them when they were writing their own 

songs, and now that they are once again writing their own stuff, it's OK to be on the bandwagon. 

Let's face it, the writing of songs doesn't mean shit. Just because you're in a band, doesn't mean 

you can write a good song; conversely there are people who can write songs who shouldn't be on 

stage with a band. 


This sleeve band photo gives off mod and/or skinhead fumes, rather off-putting, but the A-side. 

"Root Beer," is so fucked up, so wigged out... it's what every garage band wants to sound like. "You 

wanna write some lyrics? Yeah, well, I could scream 'Root Beer'!" I am in the market for a copy of 

this record, whose mysterious origins are lost in time. 

Ryan W. says: "Yeah, I bought this singular copy as buyer for Epicenter Zone, tossed it into the bins 

without listening to it and Tim Yo bought the fucker twenty minutes later. Rrrr. " 

BIKINI KILL • "Rebel Girl" 

Not only the finest moment for BIKINI KILL, but for JOAN JETT as well! Chocolate and peanut 

butter! Proof that you don't need a sense of humor to play punk rock. 

THEE STASH - "Selling Jeans For the USA" 

Of all the Billy Childish 'productions'. I thought this was the most inspired. Very Weird Al, very true, 

it could happen. "501 , the kind of fit I like." 

RED STARS - "Welcome to the Party" 

My pick for this year, this got a completely so-so review: one side of this is an absolute fucking killer 

right down to the sort of spastic bassline that sounds like it's going to turn into a lead. Playing 

against the rhythm, it begs the question: Incompetence or deliberation? Insight or instinct? They 

really came together on this single. 

Scorf S. says: "I saw this band the day after the singer's house burned down, melting his entire 

record collection. " 

MUMMIES • "Food, Sickles & Girts" 

Ah, they don't need a plug. It's a MUMMIES single! Quintessential. 

Bruce Roehrs 

REDUCERS S.F. - "Don't Like You/Situations" 

Northern Callifornia Oi! never conveyed this much emotion until Glen and the REDUCERS S.F. took 
the helm Now we are in for another treat- Look for a new REDUCERS S.F. seven inch soon! 
TEMPLARS/GUNDOG - "I Don't Need You" /"Middle of Nowhere" split 
These two Oi! bands are at the top of their game. The gauntlet has been thrown down. Will anyone in 
New York or London rise to the challenge? 
WRETCHED ONES - "Sideburns & Beer" 

"Workingman" says a mouthful about blue collar pride. No Oi! band anywhere has been as consis- 
tently great during the 90s. This New Jersey band are still kings of Northeast American Oi! 
BRUISERS - "American Night/Brown Paper Bag" 

Mr. Al Barr and his early skinhead celebration of pride, country, and beer. Very mean, very strong! 
NIBLICK HENBANE - "Land of the Braue" ..,,.,. • MU 

"Life Over the Edge" captures the desperation of the working man s plight in America. NH gives a big 
"fuck you" to "Nazi White Power assholes that give self-respecting skins like ourselves a bad name." 

The DUCKY BOYS are an American rock 'n' roll treasure. The lyrics to "Pride represent all that is 
qood and right about working class America. DROPKICK MURPHYS are even better now that Mr. 
Barr joined. Listen to "Ten Years of Service" on the DROPKICK MURPHYS/OXYMORON split. 
THE TUNNEL RATS - "Run For Your Life" • 

"Live free or die" is the battle cry! New Hampshire's thugs reach a musical and political high point on 
this one. Filled with hate and alcohol- you hippies better get the fuck out of the way! 
ANTiHEROES - "Election Day" 

The oldest US Oi! band (Southern contingent). Always delivers the truth, never pulls any punches. 
THOSE UNKNOWN - "The Four of Us" 

When THOSE UNKNOWN sang "You gotta fight for what you believe in in 1991. it rang as true and 
loud as STIFF LITTLE FINGERS' "Suspect Device" did in 1978. 

LIME CELL - "We Need a Raise" . _, .. L Lu i ■ ,.«r r*a , 

These Philadelphia fucks rock your world. "You're not punk, you re dirty, is the shit! LIME OLLL 
carries on the work started by the mighty ANTISEEN - Listen to "Run My World"- Clayton kills! 


Arwen Curry 

NAUSEA - "Cybergod" 

NAUSEA was an exercise in contrast, with a strong influence on a handful of bands, like MULTIFACET 
and DETESTATION, that sprung up over the course of the '90s. Contrast: not only in the female 
(totally unprecedented in natural distortion and obvious rage) / male Qjarely comprehensible, deep, 
with less character but more steadiness) vocals. More contrast: with the alternately heavy/metal/fast 
hardcore pace. We called them "crust," and there was a distinct association with peace-punk, more 
valid politically than musically. The band broke ground in its own right, because of their intensity and 
new approach. 
ASSFORT - s/t 

If you can dig up a magnifying glass and take a good look at the cover of this single, you II discover the 
true influence of this band: all the kids in the picture are grinning like maniacs. Hardcore had begun to 
seem real serious right about then. On tour from Japan, ASSFORT blazed in and out of California in 
'96 with an infectious buzz. Muscially. they blew away all expectations at Gilman St. and with the first 
EP, with fast, loose punk rock. 
STITCHES - "Two New Cuts" 

This wins a close race with a couple of their other 45s. most notably "Sixteen. Their singles were 
precious and carefully sought after; their shows were dangerous and worth commuting to. provided 
you brought plenty of stamina. I'm still a fan, beer bottles to the forehead and all. 
FILTH/BLATZ - "Shit Split" 
Live the chaos. Fuck shit up. 
THE GITS - "Second Skin/Social Love" 

Their best songs neatly on one 45 (that is, if you don't prefer the drawling bluesy hanging-out-in-bars 
stuff.) Sweetly brooding, talented Mia Zapata sings on this '95 single, dominating the band with an 
introversion made public. 
FUCKBOYZ - "Rock 'N' Roll Problem" 

The lyrics to the title song are the most credible, emotional rendition of the "rock will sweetly destroy 
my tired, could've-been-someone soul" thing so many kids have tried to scrape off of RICHARD 
HELL's pasty old skin in the last few years. Lyrically, it's strangely reminiscent of ALICE DONUT's 
"Tiny Ugly World." but more self-absorbed. "I'm going out this weekend/I ain't never coming back/ 
Spend all my money on alcohol and spray paint/Gonna paint this city black." Warning: this is slower 
than you might expect, but it is all the more pitiful and great for it. 
BORN AGAINST - "Eulogy" . ., 

The first 7" has to be cited, in terms of influence, but this one was just as good. Nothing is more 
frustrating than by-the-book fucking hardcore about emotional pain. The brilliant title track is so musi- 
cally intense that the first line. "There was this friend of mine," recalls the entire song, which is about 
the virtual death of succumbing to easy solutions. A runner up is the BORN AGAINST/UOA split, 
which was amazing too, especially in the contrast between the two bands, 

It was a tough choice between this and the later DEATH WISH KIDS 7". which is also great. Insane 

timing, combined with the speed and vocals, created a new, but under-appreciated hardcore breed. 

The level of unbridled energy carried on in other projects after they were defunct. 

RANCID - s/t ir n , 

The first RANCID 7" was full of raw energy, sharpening the pop-softened East Bay punk scene. This 

EP has all the California urban decay, before they later diluted it with ska and cleaner production. 


Post-NEUROSIS. they introduced a dark, tense hardcore which altered the mood of current HC. 


Ken: Well, the record that got pulled out the most was the BORN 

AGAINST 7". Three people were on that. 

Tom: Even within a year of it being out, you could say that that was the 

start. At least the DIY '90s hardcore all sort of come back to this record. 

Ken: That's not my favorite record by 'em. I like the album better, but I 

think that Born Against set the tone, lyrically, and with their onstage 

manner, for so many bands to follow them. The way they handled their 

politics was how bands like CHARLES BRONSON do — real sarcastic 


Max: Lyrically and graphically. The rub-on letters. The clip art. 

Ken: BORN AGAINST certainly referenced BLACK FLAG and REAGAN 


Neil: I never saw them, so I don't have a story, 
but I also think they were influential. 
Ken: Being one of the first records that was in 
that scene and the weird hand-printed thing 
put together, that was really the start of all that 
whole save-the-beer-boxes thing. 
Neil: The oversized envelopes, the plastic bags. 
NEANDERTHAL Fighting Music 
Tom: I remember buying that record in New 
Orleans because I had bought the STIKKY 7" 
and thought it was hilarious, and because it 
was on Slapaham, thinking "I'm gonna get this 
too, it'll be another real hoot," and then look- 

Best Hardcore Punk Singles Of The 90s 


Ken: That resounded through a lot that happened in this decade. 

Max: I think you have to place BORN AGAINST in the whole ABC 


thing, on that whole tour. RORSCHACH, BORN AGAINST, and CITI- 
ZENS ARREST all set things in motion that define right to this day 
what hardcore is. 
Tom: RORSCHACH definitely. 
CITIZENS ARREST A Light In the Darkness 
Neil: That got overshadowed by their LP, which was a lot better. 
Max: This EP rocks! 

Ken: I think on this EP the songwriting is better and the songs are 
more melodic. The impact of the album, though, is much more forceful 
because the production so good. You put it on and the drums start, 
and it's like, holy shif. 

Neil: When I think of that band. I think of the record. I don't think of the 

Max: The 7" created the hunger for the LP. When it came out, every- 
body already knew what this band could do. Especially Darryl's vo- 
cals — I don't think since then he's topped what he's done on this record. 
Without really changing anything about hardcore, they just did hard- 
core really damn good. They didn't propose any new genre, but they 
proved you could still be hardcore, without being metal, and knock 
people's fuckin' heads off. 
Ken: Referential of really early Boston stuff. 
HEROIN "Leave" 

Ken: Tom and I both brought HEROIN, the paper-bag Gravity EP. There 
might have been bands that spawned from that, like ANTIOCH AR- 
ROW, who could find that super super chaotic sound, but HEROIN 
stepped the line between being really chaotic and maintaining a real 
straight-up hardcore energy and song structure. 
Max: I agree that yes. they were influential. But I 
think bands like HONEYWELL put them to shame. 
MOHINDER. My tastes are more on chaos. 
Ken: The only time I saw them was at Epicenter, 
and it had to be the second funniest thing I've seen, 
after Tom destroyed the place. It was a show with 
these bands were playing lo-fi rock, then HEROIN 
came on and started playing, and this tide of bald 
heads came jumping up and down, and they were 
really worried that the motion sensors in the store 
downstairs would go off. And between every song, a riot grrl would 
grab the mic and go. "stop jumping!" 

Max: When I saw them, CROSSED OUT opened, NO COMMENT 
HEROIN. Everybody cleared out — there were like thirty kids in back- 
packs standing there doing the paraplegic thing they do. 

ing at the inserts and labels and thinking, shit, 
this is bad news. It's fucking good. 
Neil: It was like nothing I had ever heard. 
Max: 7hat defines power violence. When I think 
NEANDERTHAL, it's super-slow, super-fast— 
no bullshit in between. And I don't think any- 
body's touched it since. I think the NEANDER- 
THAL/RORSCHACH record is probably one of 
the best splits. 

CROSSED OUT "Internal" 
Ken: There is something about that record. It 
has that weird ponderousness to it, and it's 
really fast. The way that the songs on the 
CROSSED OUT EP are spaced out: thirty-sec- 
ond thrash song, thirty seconds of silence. 
Max: It's like watching a horror movie and you 
see someone walking toward the door and you 
go, OK, someone's attacking. Someone's gon- 
na get it! 

Ken: But the weird thing is, I think it was total- 
ly unintentional. 

Max: Those two could be combined, CROSSED 
OUT and NEANDERTHAL are like brother and 
sister. It added a new element to hardcore. Is 
it hardcore, or is it grindcore? Well, it's pretty 
fuckin' close to grindcore. 
Tom: They were definitely the graphical power 
violence start-up too, with their imagery. 
MAN IS THE BASTARD Abundance at 

Ken: I think this is their most solid single. There 
wasn't as much noise stuff; it was more 
straight-up and burly. 

Max: I think that and the AUNT MARY split are 
fuckin' awesome. The first LP on Vermiform I 
think was good — it could have been better as 
an EP because it was so slow. And of course, 
on the split, that's the first time they came up 
with "power violence." 

Tom: Well, it's no 

the middle of finals I 
get approached to do a 
round (able discussion 
on hardcore, or more 
precisely, a discussion 
of the most influential/ 
favorite singles of the 
-90s. It was u last 
minute decision born 
from the idea that there 
needed to be a comple- 
mentary discussion of 
other styles of punk not 
included in the original 
discussion (see the sis- 
ter article this issue). So 
with this request, I at- 
tempted to compile a 
list of people who not 
only were walking stor- 
age-bins of punk/hard- 
core knowledge, but 
that were really pas- 
sionate about it as well. 

Of course, we 
are all aware that any 

S reject like this is de- 
eatcd from the get- 
go... we are all aware 
that this is nothing 
more than a discussion 
of opinions, and I hope 
you see the following as 
such. We are not self- 
elected experts; our fa- 
vorite records are 
probably not yours, 
and we all have our 
own pet peeves when It 
comes down to what we 
consider influential. 

For the most 
part, I think this was 
pretty damn fun. It re- 
tained (at first, at least) 
a level of objectiveness 
because we approached 
this in the following 
way: we nominated 
some records that, 
whether we liked 'em 
or not, changed or in- 
fluenced the scene, and 
in addition, listed some 
singles that, no matter 
how obscure, we could 
not have survived the 
•90s without So with- 
out further ado, here's 
the discussion between 
Ken Sanderson, Neil 
Nordstrom, Tom Hop- 
kins, and me. Max 

"bandana thrash." 
Neil: MITB also man- 
aged to last long 
enough to influence 
people, just by putting 
out releases and get- 
ting out there, whereas 
put out the one record. 
Ken: In the '90s more 
weird musicians with really out-there music got pushed out of the way. 
They got segued off to art-rock. In the '80s it wasn't uncommon for me to 
go to a show and see the BUTTHOLE SURFERS with hardcore bands. 
You would get much more of an eclectic crossover, and I think that's one 
of the great things about MITB. It's so out there, but still working within 
the hardcore scene, in a context that wasn't pretentious. 

IRE: Ire 

Neil Nordstrom's: UNBROKEN: "And/Fall on Proverb" (3IG) • FALL SILENT: " 1 997" (Moo Cow) • ABC DIABLO: "Hatredge" (Off The Disk. 1 992) 
"Loanin/Figbender" (Dirge) • GLOOM: "Speed Noise Hardcore Rags" (Crust War. 1994) • NEANDERTHAL: "Fighting Music" (Slapaham, 1990) 
(Schema) • ANARCHUS: 'Final Fall of (he Gods" (Rigid) • CORRUPTED: '"Dios Injusto" (Frigidity) • ASBESTOS DEATH: "Dejeclion" (Profane m, W c.». 
Max Ward's: BASTARD: "Controlled in (he Frame" (Bas(ard, 1990) • CRAZY FUCKED UP DAILY LIFE: "A(roci(y Exhibitions" (Yappycore, 1990) • 
OPEN SEASON: "Roma Crew" (SOA. 1993) • MANLIFTINGBANNER: "My(h of Freedom" (Crucial Response. 1991) • CITIZENS ARREST: "A Ligh( in (he 
Darkness" (Wardance. 1990) • GOUKA/DASTON: "Continuously Attack of Endless Shock" (Foresi. 1996) • EARTH CRISIS: "Firestorm" (Victory) • SAlRAAT 
M1EI.ET: "Tippa Tappaa" (Highly Collectable. 1992) • UFES HALT: "We Sold Our Soul For HC (Young Blood, 1998) • RAZOR EDGE: "Thrash Night" 

Tom Hopkins, ™ -Biie™^ - 

••GroundfcSnMS of Belief (Ebulli.ion. 1993) ■ FINGER PRINT: "We May Be Brothers" (Stonehenge. 1994) 

• HEROIN: "Leave" (paper bag) 
DS 13 "Aborted Teen Generation" 


Max: They could play their instruments. Each one of them's a fucking 
master at what they do. I could hardly even enjoy the show, because I 
would just be watching Joel throwing in fills. 
Max: I'll make the case for this EP, and the whole introduction of com- 
munist politics. If you look at the European scene, a lot of the straight- 
edge bands are still red. I think that's one of the mam differences be- 
tween European and US straightedge. 
Neil: We got the baseball bats! 

Max: And the weightlifters. I think the 10" is better as a complete pack- 
age, but when the first came out, 

it fuckin' blew me away, because it was a semi-sxe band that didn t 
sound straightedge, with awesome lyrics. Challenging, not run-of-the- 
mill, just everything about it was fuckin' protest hardcore. 
Tom: I picked it as one of the five I listed as my favorites, but I think 
looking at it as far as the political influence, even a lot of European 
straightedge bands that are totally on the '88 revival thing have a lot 
more politics in their lyrics. CCC . M 

Max: The speed of it, too. However you want to situate them, with SEEIN 
RED. or LARM, on the family tree, it's still the quintessential 
project. So you guys don't like it. do 

Neil: I gave it a couple of tries. 
Ken: I never really got into 'em. 
LOS CRUDOS La Rabia Nubia 
Nuestros OJos 

Ken: I think this is a really cool record. 
I was talking to Neil about it earlier, 
and you could dismiss it. since the 
WRETCHED did that, plenty of bands 
in Europe did that, but not within the 
same context. I think it was really rad- 
ical to have a band from America not singing in English. I had no idea 
that Chicago had this huge Latino scene until I went out there and vis- 
ited. It got people in the US to listen to music that's not in English, 
which is a real rarity. The interesting thing about foreign hardcore is 
that '80s bands had more influence in this decade than they did in the 
'80s. There were a lot more people listening to MOB 47 or the WRETCH- 

Max: Look at the compilations that came out. like Peace. Musically, 
there's numerous times I've seen reviews of reissues of Italian bands. 
"Hey man. this sounds exactly like Crudos!" and they're missing the 
whole point. It's the completely opposite way around. 
Ken: I can be the most jaded person around, but this is a ba nd I that 
people I know could go see now. they can't go see the WRETCHED. 
Crudos also played a big hand in bringing other bands here. 
Tom- I think they're awesome, but it took me forever to get the EPs. 
Ken: More influential was the split with SPITBOY. because it was the 
one record you could always find. But hey, we're doing singles. 

Neil: This is the better of their two. "Scourge is the song. People don t 
give instrumental their due. If someone does something really awe- 
some like that, you gotta listen to it over and over. 
Max: When everybody was telling me about them, it was like. Hey. you 
gotta listen to this NEUROSIS band." When I got it. I could hear the 
NEUROSIS, but they did something different. They emphasized slow- 
ness, mood. That's how you can trace a line from early NEUROSIS, and 
you can start understanding the GRIEF 7" or any of the sludge bands. 
Ken: Between that. EYEHATEGOD, and the MELVINS. 

Ken: Everybody slow down! .,__..». .,.., 

Max: I was at a show that was ASBESTOS DEATH. GLYCENE MAX. 
NAUSEA and NEUROSIS at Gilman. And in the middle of that was 
DOWNCAST. As much as I'm kinda turned off by your run-of-the-mill 
crust core these days, that show was fuckin' awesome. Everybody was 
metal. GLYCENE MAX sounded like HELLBASTARD. 

NATION OF OLYSSES "Sound Of Young America" 

Tom: I know you guys are all big fans. 

Max: Make your case! , 

Tom: I bought this and thought it was fucking awesome, and didn t get 
to see them live for about two years after that. They are still one of the 
best live shows I've ever seen. I can't really think of one instance in 
which they influenced things in a good way. I think almost every single 
band that did their style were awful. Because bands would go as far as 
copying the sound and the look, but they all were fucking nailed to the 

Max: i just remember seeing people dressed in suite, and I was like, 
"What the fuck is going on here?" 

Ken: I always think their impact was much more fashion-wise, that 
was more of their statement. But hey. that's important to a lot of peo- 

ple! ACME Blind 

Tom: As much as they used a lot of RORSCHACH influences. I think 
this is the official record for making other people aware of the new 
wave of German hardcore. 
Neil: Them and SYSTRAL. 

Max- Ken and I were talking about ABC DIABOLO. I think the 7 is a 
lot better then the LP. That fucking 7" is insane, especially for the 
vocals. I think the way ACME took the RORSCHACH metal thing to a 
whole other level of emphasis. This is another classic example of where 
(a band) took something and made a slightly new form, and then right 
after that all these bands ran with what they did. With bands like ACHE- 
BORN, we're talking metal... 

Tom:MORSER. . . „ ., 

Neil: And it's all more accepted by the hardcore community than it would 

haVebeen ABC DIABOLO Hatredge 

Neil: I picked this because the vocals just blew me away. 
This as a hardcore record stands 
out as something that took me 
by surprise. 

Records we really liked, 
regardless of how influential: 
I URANUS Disaster By 

Design 2x7' 

Ken: To me this is really metal. 
My tastes aren't as metal, and 
it's just down-tuned, awesome, 
the songs are really long, they 
come in with this tidal wave of 
churn and then midway they have a whole new part start up. Just taking 
your head and shoving it back and forth. It's awesome! 
Tom: I like the 1 2" version of that better, because I like the way it sounds. 
Max: The mastering is better. 
Tom: But that one looks amazing. 

Max: No one is going to agree with this, but I have a good reason for it. 
This is European straightedge and they played right when Conversion 
and New Age started putting out the records that were more metal. I 
dug (those bands). But here comes this unknown Italian band from a 
place that I didn't think had a straightedge scene, and it's just fucking 
good. They continued what I think was the best part of '88 hardcore. 
Thev were fast and energetic, positive and had good things to say. 

* EARTH CRISIS Firestorm 

Max: I forgot this record for the influential section. Their first EP caused 
controversy because of their questionable lyrics about abortion. When 
I heard it I couldn't see why anyone would even defend this band be- 
cause they weren't good. Then I got Firestorm, and I think that record 
changed everything in hardcore. Good recording, confrontational. 
Tom: I think that record is the '90s version of the SIDE BY SIDE EP. I 
always feel extremely tough when I listen to those two records. 
Neil: When Max mentioned that record to me. I listened to it again, and 
it was definitely influential, but it isn't my favorite militant vegan meat- 

head C ° re DEATHSIDE All is Here Now 

Ken: This came out in '94 and is the quintessential awesome DEATH- 
SIDE record. The first song has the full-on flaming IRON MAIDEN mtro. 
then starts with the galloping drum beat, then just bursts into thrash. 
This is by far one of the strongest of the Japanese style. 

WARHEAD Cry ot Truth 

Ken: My runner up. Same thing: the flying V guitars and big mohawks. 

GLOOM Speed Noise Hardcore Rags 

Neil I was trying to hard to find a Japanese record. I wanted Japanese 

hardcore because it's so awesome, but I couldn't find a definitive one. 

I ended up with GLOOM because they remind me more of the 

CONFUSE style, noisier and crazier. 

Max: I have two Japanese records. 

CRAZY FUCKED UP DAILY LIFE "Atrocity Exhibitions" 

Max: I love CFDL to death. The name! A band that writes songs like 
"No for meat, yes for tofu!" For me this is the '90s for Japan. Way far to 
the left of the traditional. They're running with the crusty thrash idea, 
but they did it in a way. that nobody touched. I will never tire of this 

Ken: I think this record is a precursor to the whole Japanese crust 
scene and the fastcore and hyper-fast thrash, 
BASTARD Controlled in the Frame 

Max: I think this is fucking awesome. Fucking BASTARD. The vocals. 
You can't touch the vocals. 

Ken: I think BASTARD is great, because it's like the archetypical Jap- 
anese thrash; maybe more DISCHARGE in what they do. On par with 
DEATHSIDE as just classic Japanese hardcore. Completely burly Jap- 
anese hardcore. 

Max: What I love is people who hate Japanese hardcore and say 
that it's so goddamn simplistic. Yeah, four chords, but those are the 
fucking best four chords you've ever heard in your goddamned life. 
CHRIST ON A CRUTCH Kill William Bennet 
Tom: This was 1990 and just makes it in. It's just awesome — only 
two songs. Whenever I'm cleaning out my record collection I always 
listen to it again. Not because I want to get rid of it, but because I 
gotta hear it again. It's tight but kinda sloppy. 
Ken: They were completely solid. Though they had considerably more 
influence when two of their members were in the FOO FIGHTERS. I 
think they were part of an interesting period, when things were really 
dead but still you had all these bands like CHRIST ON A CRUTCH or 
ANTISCHISM that were in the middle of nowhere. 
Tom: And they weren't playing "Soulforce Revolution." 
Ken: Yeah. Before that BORN AGAINST wave when things started 
charging up again. 
CORRUPTED Oios In jus to 

Neil: CORRUPTED are just fucking awesome. They started off as a 
Japanese GRIEF, then they progressed and got their own style and 
own direction, but still kept it mega-slow and did their own thing. 
Tom: CORRUPTED is a great example of stuff I can't friggin' 
stand. Because it is so slow and repeti- 

NO COMMENT Oownsided 
Ken: I wouldn't call this a power violence 
record. I'd call it an amped-up hardcore 
record. To me, this is a perfect hardcore 
record. One song to the next is just com- 
pletely in your face. The last song is two 
minutes long and every other song is 
under a minute. It's perfect. 
Max: I remember them being afraid at 
Fiesta Grande that people would be 

bummed that all they would play was that 7", because it was all 
they knew and they hadn't practiced in a while. Imagine having your 
favorite band play your favorite record in the exact order, live! 
ICONOCLAST Groundlessness of Belief 

Tom: This is my favorite record that came out in '93. It is emo as hell, 
but with just enough kick in some of the songs. I've got a funny feeling 
that some of you guys haven't heard this. The song "I Like You Less 
Than Apple Pie" is one of my top ten songs lyrically. 
Max: I bought one of their records thinking it was a reissue of the old 
LA crust/peace punk band. 

Tom: Yeah, no points for original name choices. 
Neil: I remember MEREL and that whole scene, and buying records 
and not knowing what the name of the band was. 
GOUKA/DASTON Continuously attack 

Max: This isn't going to be on anybody's list, it is just a personal favor- 
ite. Not only are both bands totally kick-ass and solid all the way through, 
it's your ideal 7". Obviously they're friends playing somewhat the same 
style and just kicked ass. This is what a split 7" should be. 
DROPDEAD "Unjustified Murder" 

Ken: They spent a decade touring on this EP. I have to give them that. 
Max: Ten reissues on different formats and an LP with all the same 

UUTUUS Systeemin Battaissa 

Ken: This is one other record that I really loved. It's just classic Finnish 

Max: And they never matched it, I don't think. 
Tom: Raise the roof! 
Ken: This just has that sound and has the recording, and everything 

about it had that feel of 1982 Finland. 

Max: They were fast as fuck and they were sloppy. 

ANARCHUS Final Fall Of The Gods 
Max: Good fuckin' choice. Goddamn, I didn't even think of that. 
Neil: The vocals blow you away. Crazy fucking grind. They finally resur- 
faced recently. This was my first introduction to them. 
Max: It reminds me of SEPTIC DEATH, and grindcore. In the beginning 
the snare is super-loud and the fuckin' vocals are totally insane. 

FINGER PRINT "Mfe May Be Brothers" 
Tom: This was the first French hardcore 7" that I actually owned, be- 
sides IVICH. Lyrically it's got a really MOSS ICON feel to it, but there's 
some incredibly fast music, that's not fast hardcore but fast, big, wall 
amped guitar. On the East Coast, this was the record that everyone was 
trying to get from the guy with the box of records at the distro table. 
Max: A lot of people feel the same way. People want their shit. 




$*uk# mm 

Max: First you told Timojhen about it, 

and then Timojhen told me about it. He said, "You gotta hear it," and I 

said. "It looks like Finnish New Wave." He said. "No, it's Finnish straight- 
edge thrash." It's true, it's like hyper-fuckin Finnish thrash. 

Ken: "The police are catching you and pouring your drinks to the ground/ 

That's good cuz it eliminates your stupidity." This is like the diametric 

opposite of UUTUUS. 

Neil: That's a crazy-assed hardcore record. 

Max: I saw that one of the guys from DEVOID OF FAITH chose that as 

one of his top five records of all time. 

DS 1 3 Aborted Teen Generation 
Tom: I fuckin' love this record! 
I hardly ever make mixed 
tapes, and when I got this and 
the LAST MATCH record and 
a whole bunch of other crazy 
good Swedish stuff, I had to 
made a Swedish hardcore 
tape. The whole 7" is awe- 
some, start to finish. They're 
definitely doing something 
old, but there's nothing ge- 
neric about it. Over-the-top 

Ken: I think the best bands do things you can reference, like CRUDOS. 

but they do it with enough energy and enthusiasm and care that it doesn't 

seem referential or dated. DS 13 do that very well. 

Max: I would compare that to COPOUT. It's been done before, but fuck, 

listen to that. That shit is pissed off fuckin' Boston. 

Ken: I think a lot of what bands are doing now is really similar to that. 

Max: To bring this whole thing up to date, we're all fetching early '90s. 

LIFES HALT, that's gonna be one of my favorite records in ten years. I'm 

gonna look back at that 7" and think it's one of the best fuckin' records. 



FLOOR "Loanin/Figbender" 

Neil: FLOOR fuckin' rules. Period. Total dirge/sludge. It came out around 

the same time as CAVITY. FLOOR had more groove. I was definitely into 

the sludge thing. 

■RE s/t 

Neil: Another one that blew me away. 

Ken: Their album was terrible. 

Tom: They were so wishy washy on their abortion stance. 

UNBROKEN And/Fall on Proverb 

Tom: That's their best thing by far. Great songs, hardly any noodling on 

that, and none of it's really slow. That was the fourth or fifth wave of sxe 

stuff. That record was accessible on a lot of different levels. 


Tom: That 7" was surprising. I didn't realize they were nearly as political 

as they are. 

Max: They're intelligent and good at what they do. 

Ken Sanderson's: NO COMMENT: "Downsided" (Slapaham. 1992) • URANUS: "Disaster By Design" (Great American Steak Religion. 1995) • CITIZENS 
ARREST: "A Light in the Darkness" • LOS CRUDOS: "La Rabia Nubia Nuestros Ojos" (Lengua Armada. 1 993) • DEATHSIDE: "All is Here Now" (HG Fact. 
1 99-1 )AVARHEAD: "Cry of Truth" (Warhead. 1991) • MAN IS THE BASTARD: "Abundance of Guns" • CROSSED OUT: "Internal" (Slapaham. 1991) • 
UUTUUS: "Systeemin Rattaissa" (Genet. 1994) . BORN AGAINST: "Half Mast" • HEROIN: "Leave" (paper bag) 

CBGB's. New York City, a Sunday matinee. A band boards the 
stage. They twiddle with their amps and guitars. The singer, 
dressed in baggy jeans and a black hooded sweatshirt, with a 
baseball cap that reads "Downturn." The singer speaks. "We're 
OUT OF CONTROL . 1 -2-3-4! 1 !" 

is my hardcore anthem sung for tlie community/Of all 
who are outsiders on the fringe of society" -from "Anthem ." words 
and music by Barry 1 .evine. 

The song is from NYHC. a new play by Barry Levine, a New 
Yorker who recently transplanted to LA. The play is about two 
generations of punk rockers in New York. It operates on two 
lifferent timelines, the mid- '70s and the present. It opens with the 
r-middle age Audrey Madden, die ex-lead singer for the classic 
'70s punk band. Downturn, talking on the phone to 
my Kaye (Patti Smith Band) about a Downturn reunion. She is 
lesitant to reform the band because of the loss of her brother Tim. 
the band's guitar pla> er, who died of a heroin overdose in the early 

Back in the '70s, we find Audrey hanging out with her kid 
brother Tim, goi ng to CBGB ' s to see the Ramones. and di sco vering 
the world of heroin with her new boyfriend and future husband 
Jack. Twenty years later, Audrey is worried about her teenaged son, 
Tim Jr., who has his own punk band, 
OutOf Control, and is fully immersed 
in the New York punk scene of today. 
Audrey passed on her heroin addic- 
tion to Tim Jr. while he was still in the 
womb. fl jt? 

Tim Jr. has just had a horrible 
experience with alcohol right before 
the play opens, which pushed him to 
become a serious straighl-edger. The 
relationship between Audrey. Tim 

id her brother Tim are the driving forces behind this play. 

The play also serves as a primer for the uninitiated, and is 
loaded with references to famous punk musicians. This drew 
criticism from several judges when NYHC was read at the Edward 
Albee Theau"e Conference in Valdez, Alaska this summer, They 
felt that die play was too esoteric, and that they would have enjoyed 
it more if they had to dig more for the references and history. 

The play bristles with the excitement of discovering new 
music and a whole new way of life. The play is told from Audrey's 
point of view, which speaks for the author as well. "Punk made me 
feel like I belonged," said Levine. "1 grew up pretty sheltered and 
mostly listened to classical music." Levine found his place within 
punk culture, and quickly began mixing his two loves, music and 
theatre. Enter Godot. "I think (Samuel Beckett's) Waiting For 
Godot is the most punk rock play ever." said Levine. "Angst. 
despair, worthlessness. apathy — these are all themes touched on in 
punk." Audrey steps up to the mic, and rips into "Waiting For 


had punks as characters in his plays be fore, but NYHC is the first of 
his plays dial is completely immersed in punk culture. The 
ends with Downturn and Out Of Control playing at CBGB 
Downturn's reunion show. 

Besides being a well-paced, interesting story, NYHC has a 
fantastic soundtrack, all written by Levine. The songs were actually 
played live, by die actors, during the play's debut performance last 
April at USC. Levine said he was adamant that the actors be able 
to play their instruments. "The actors actually talked about forming 
a real band after the show ended," he said. There has been a long- 
ng tradition of musicians moonlighting as writers, and punk 
musicians like Rollins and Patti Smidi most famously. There have 
been punk movies (Decline of Western Civilization 1 and 3, 
Suburbia. Dudes, SLC Punk), punk rock short stories, but no punk 
rock plays. You could make a case for Cowboy Mouth, Patti 
Smith's collaboration with Sam Shepard, or 27ic Rocky Horror 
Picture Show, but they were morepre-punk. catalysts for what was 
to come later in the '70s. II you did count those as the first two, then 
NYHC would definitely be the third. 

The play, through the words of "Waiting For Godot." pushes 
the true impetus of punk rock back to the forefront: the personal 
search. NYHC works because it is not just a story about punk 

rockers. It doesn't just show die 
superficialities of punk culture, or 
make its characters out to be car- 
toons. It shows real people, faced 
with the knowledge that they are 
irre vocably different. It digs down 
to the real reasons why people dye 
i heir hair, put on a leather jacket, 
and stick hunks of metal into their 
face! People that need to express 
Josh Medsker themselves, by any means neces- 

sary ! It shows why a lot of people 
Trish Narciso photo in punk rock cu i, ure wan , t0 fe. 

Barry Levine chatting with theatre demi-god 
Edward Albee in Valdez, AK, 1999. 

/ *m getting pale andth inner all the time/Soon boredom will drive me out of my mind/ 
And I will let it happen since I think it's for the best/Because my life is wholly 
meaningless/And I'm sitting on the corner waiting for a dream that hasn 't cornel 
And it doesn't really matter if I walk, stand still, or run/ 'Cause I'll wait for 
something to come around and save me from losing hope/You might say I'm Waiting 
For Godot — from "Waiting For Godot," words and music by Barry Levine. 
Levine has touched on Godot before. A few years ago, Levine 

stroy everything and ev- 
eryone, most of all them- 
selves. Most importantly, 
it shows that when people 
work through their frus- 
tration and pain, they cre- 
ate the most honest and 
meaningful art. 

directed an "updated" version of Godot at USC. "We left the words 
the same, but put the characters on a street corner," said Levine. 
"And dressed them up in modem punk style clothes." Levine has 


Barry Levine: 

Josh Medsker: 



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During the last two years, Beerz&ne's 
constant touring has earned them the respect 
of the punk and oi community. The 
Band members are: Adam-guitar, 
Spike-bass, Bryza-drums, 
Iain-vocals. They are 
based in Crawley, 
Sussex, UK, 
which is 

2 l 5 

of Lon- 
d o n , 
home of 
Peter and 
the Test 
Tube Babies. 
Iain and Bryza 
are originally^ 
from Scotland, 
but moved down 
in the '80s to try 
and find work. , 

Iain Kilgallon was previously in a punk band 
called Intensive Care, named after a Peter and the Test 
Tube Babies track, in the early '80s. Intensive Care was 
first heard of on the second volume of the "A Country Fit 
For Herpes 'compilation. In 1984, Intensive Care put 
out the "Cowards" EP on Punishment Block Records. 
Theyplayed with the likes of The Business, The Exploit- 
ed, Condemned 84, and Section ( 5. Intensive Care also 
issued a six track 12" called 'Rebels, Rockets, and 
Rubbermen " on their own Back to Back label. 

Beerzone has established itself as afun-lovingpunk 
band with lots of energy and a total commitment to their 
audience. Interview with Iain and Bryza by John 


MRR:.Tell us a 
little of the his- 
tory of Beer- 
. zone. 
, Beerzone: 
live in 
July 1997, and 
we have played nearly 
every week since then. The 
name came about from a piss-take 
of the garbage pop boy band Boyzone, 
who are too bad for words, but braindead kids 
buy their records by the millions. We thought by calling 
the band Beerzone, people will know we are out to have a 
good time and not be too serious. 

To date Beerzone has played just over one hundred 
shows, and has performed in the UK, France, Germany 
and the United States. We have played alongside The 
Damned, Slaughter and the Dogs, GBH, UK Subs, Vibra- 
tors, 999, Dropkick Murphys, Peter and the Test Tube 
Babies, Anti-Nowhere League, The Business, One Way 
System, Sham 69, Oxymoron, and The Wretched Ones, to 
name a few. We have gigs lined up with The Exploited, 
Cock Sparrer, Cockney Rejects and more in the new year. 
MRR: What are some of your musical influences? 
Beerzone: We were influenced by the great punk bands of 
the '70s and early '80s, like Stiff Little Fingers, The 
Damned, the BuZzcocks, Peter and the Test Tube Babies, 
and the Clash. More recently, we have been influenced by 

the Dropkickl 
Murphys, and 
by drinking vast 
quantities of la- 
ger, of course! # 
MRR: What are you all about? 
Beerzone: Beerzone is all about having fun and 
playing powerful melodic punk with sing-along 
choruses. We are trying to put a smile on 
people's faces while having a few 
beers along the way. 
MRR: Do you have 
any records or CDs 
available at this time? 
Beerzone: We have 
three CD singles al- 
ready out in the UK 
and have our debut 
full length out 
worldwide on TKO/ 
Flat Records. 
MRR: How did the 
TKO/Flat Records deal 
come about ? 
Beerzone: We met Ken 
Casey, the bassist and 
songwriter from the 
Dropkick Murphys, at 
the Holidays in the Sun 
show in June of I 
1999. We had a bit of a 
laugh with him and we 
gave him a copy of all our 
releases. He called us up 
about ten days later. Mr. Casey of- 
fered us a two album deal. Since that time, 
TKO Records and Flat Records have united. Ken 
Casey offered Beerzone a chance to tour Europe and 
the United States with the Dropkick Murphys. We 
jumped at this as we were already big fans. The 
Dropkick Murphys remind us of Stiff Little 
Fingers. We are currently near the end of the ^ 
US tour and we have been absolutely stunned 
by the reaction of the American audiences 
to us. They seem to love us. They have 
een magnificent! 

MRR: What does the future hold 

Baai-zone's recorded output so far: 
-'Bear Hare Now* - CD only, with four tracks, released In Dacambar of 1 997j 
-lifa In The Baerzona' - CD only, with five tracks ralaaaad in July of 1998 

- "Gazza Gazza' - CD and colored vinyl 7" containing thraa songs, rilnaaecl 
in May 1999. This single has racaivad airplay in over 20 countries and has 
baan playad at English Pracnlarship Socear matches It is also played on the 
BBC World Service which is broadcast all around the world [much to our 
pleasant surprise). 

- "ScenakiUar Two" on Outsider Records from Long Beach, California, along 
with The Dropkick Murphys, The Business, etc This is a good compilation 
album with quits a variety ol Interesting bands. 

-We are also on a live CD recorded at Streetpunk 99 in Kansas City, 
Missouri, along with The Wretched Ones, Lower (Hiss Brats, and many mare 
I This compilation is on D55 Records from Austria. 
-They Came, They Saw, They Conquered" our debut full length Is out on 
TKO •■'Flat Records, manufactured by TKO Records, San Francisco, 
California, and distributed through Mardam. 

I We have 
already been 
offered a second US tour which will be 
around March or April, and instead of being 
the we are being told we will 
probably be second to the headliner band on 
the tour. We just want to come back and play 
so we leave all the details to Mr. Casey. 

If the two albums do 
well , we will look to 
extend the deal with 
TKO/ Flat Records. 
MRR: You have near- 
ly completed your US 
tour with the Drop- 
kick Murphys as we 
speak — tell us what 
you think of the tour 
so far. 

Beerzone: It has been 
absolutely awesome. 
The majority of the 
shows have been sell- 
outs with hundreds be- 
ing locked out. We have 
been overwhelmed by 
the audiences reaction to 


or iseerzoner 

us. They seem to really 
like our show and that 
has been reflected in the 
amount of merchandise, 
such as t-shirts and CDs, we 
have sold at the shows. 
MRR: What is the punk scene like in 
the UK at the moment? 
Beerzone: The scene in the UK seems to have 
j come out of recession and is getting more lively 
again, with increasing attendance at shows and 
more new bands appearing all the time. 
MRR: Do you have a website? 
MRR: If people want to contact you 
where can they find you? 
Beerzone: Beerzone, PO Box 89, 
Crawley, Sussex RH 10 7PD UK. 0' 

24/12 FL. OZ. BOTTLES 

0«O«O OQ&O 

The Indiana Torture Slaying • John Dean 

Borf Books • 1931 Willie Webb Rd • Box 413 • 
Brownsville, KY * 42210 
http: //www. borf ents. com 

Like many fans of true crime. I have been 
searching for The Indiana Torture Slaying for 
years. I'd read about the case in Murder Can 
Be Fun and Answer Me! as well as in one essay 
by John Waters. The only time 1 located a copy 
was over the internet. The seller wanted over 
S40 for an admittedly "poor condition" copy. 
No thanks. My search led me to the author's 
own website. He recommended looking for the 
book in a library. No luck there. Then, finally, 
I got an email from him plugging a second edition of the book. 
Turns out. a copyright attorney found that the rights had 
reverted back to him when the original publisher went under. 
This new edition includes additional photos and updates on 
the lives of the "main players" in the case. 

The only way to describe this book is to repeat the 
superlatives already known. Words like "shocking," "horrific" 
and "nightmarish" are at once appropriate and somehow 
completely insufficient. 

The rundown is as follows: Two sisters are left in the 
care of a single mother by their carny parents. One sister, Sylvia, 
is eventually tortured, scalded, starved, beaten and burned until 
she eventually dies from her injuries. Her sister, on the arrival 
of police, tells an officer, "You get me out of here, and I'll tell 
you everything." "Everything" includes, but is not limited to. 
the story of her sister being burned with cigarette butts, thrown 
down stairs, stomped, punched and forced to insert a pepsi 
bottle into her vagina. Finally, after being branded with the 
words, "I'm a prostitute and proud of it," she mercifully dies. 
A trial follows, in which the mother and several kids are 
charged with torture and murder. By the time the book details 
the trial, the reader is stunned beyond feeling. This book is 
the single most effective true crime book I have ever read. 
Seeing it return to print is a very good thing, especially since 
the only other book about the case, The Basement: Meditations 
On A Human Sacrifice is so presumptuous as to have the author 
speaking through the voices of both the victim and the woman 
who caused her death 

Indiana Torture Slaying has no such pomposity. The 
writing is stark and merely states the facts of the case, which 
renders the terrible truth of the story in a cold fashion. In the 
words of the author, it is an attempt to reconstruct the crime, 
which is so horrifying that embellishment is wholly 
unnecessary, While a price of more than fifteen dollars may 
seem excessive for a paperback, bear in mind that this is a self- 
published, limited edition of a classic. To use publishing house 
hypespeak, this is truly a "must read". -Ed Hunter 

«0 000*000 

Out of Business: Force a Company to Close its Doors for 

Good! * Dennis Fiery 

286 pages * $17.95 

Loompanics Unlimited * P.O. Box 1197 * Port Townsend, 

WA • 98368 

Out of Business: Force a Company. Business, or Store 
to Close Its Doors for Good! is just what the name 
implies,— a handbook for committing subversive acts 
against companies and corporations. Author Dennis 
Fiery holds to the belief that any company can be 
toppled with enough effort and packs this book with 
101 strategies for doing just that. Whether you're a 
disgruntled employee or just filled with your fair 
share of random anger. Fiery has ideas about how 
' you can exact a little revenge. He. of course, holds 
his sense of humor throughout, but as he reminds us at one point, if you 
really want to shut down a company, it is serious work "Vandalism of 
the company may be fun, but it should be done with a purpose in mind 
. . . You have to distinguish between fun and terrorism. You want 

Thus, while the first third or so of the book deals with strategies 
that anyone can use against a company, the rest of it tackles how to pull 
off inside jobs and more in-depth assaults. The old "fill the shopping cart 
with perishable food and leave it in a random aisle to rot" trick and the 
"broken glass in the parking lot the night before the big sale" trick both 
make their way into this book, as do dozens of tips on corporate espionage. 
Other Ideas range from spreading rumors, to screwing with company 
mail, to vandalizing company or employee vehicles, to using spam e-mail 
in order to give the company a bad name, 

I don't know what happened to Fiery as a child to create this 
kind of anger, but he's obviously spent a lot of time figuring out ways to 
bring down any size business, from the corner store to the giant 
multinationals that seem out of reach for most of us What he's included 
in Out of Business is pretty amazing Each of his 101 strategies is a well- 
planned attack that includes info on how each one can be used best in 
different situations and anecdotes about folks who have either used these 
strategies effectively or fucked up trying (so you can learn from their 
mistakes). He even includes web addresses for organizations that may 
lend a helping hand or provide information about a target company and 
other reference notes to help you research and plot more extensive 

Fiery doesn't hold back and honestly abides by the old maxim of 
using any means necessary. If anything, some of his ideas are a little over 
the top for me. I don't think I could bring myself to reporting a business 
owned by African Americans to the Klan no matter how much I hated the 
owners, and I don't think I could haze or personally attack employees in 
order to drive them literally insane But maybe that's just me. The other 
downside to Out of Business is that almost two-thirds of the book is 
dedicated to tactics that require finding a way deep inside a company to 
bring it down from within. 

Still, Out of Business is an excellent book It's a quick read, full of 
serious information but never taking itself too seriously. Whether you're 

<ftA0— OQ&i 

filled with anger just waiting for a target or looking to become a freedom 
fighter who devotes his or her life to taking down one company in a 
lifetime. Out of Business is a book capable of unleashing your creativity 
as well as your destructive urges -Doug Grime 

Anne Frank In Jerusalem • Scott McLeod 
90 pages • $10.00 

Ex Nlhilo Press • 300 Vicksburg St Ste 5 • San Francisco, 
CA -94114 

1 What a bombshell! The title sets out a pretty 
stunning premise - Anne Frank, the tragic child- 
diarist of the Holocaust, has been alive for all these 
years. There's plenty of intrigue there already - Anne 
; Frank's possible activities during the intervening 
I years, her decision not to come forward, her 
eventual fate (the entries simply stop). But each of 
these is more interesting as a question than it would 
be answered, fictionally. McLeod has the sense to 
I open this Pandora's box. and not trivialize it with 
sappy pseudo-biography. • 

This manuscript is presumably her journal, from the end of her 
life. The entries begin "Helsinki, 2 December. 1995..." Unlike the 
mythologized Anne Frank we all know, the tender, optimistic, intelligent 
and brave little Dutch girl of World War II, this diarist is misanthropic, 
harsh, and unable to prevent memory from flooding into her present. 
The prose is a streaming diatribe of dark notations, at once perfectly 
clear and strangely disjointed. It is quite disturbing to read; like speaking 
with a schizophrenic person or a speed freak - you know, that special 
kind of logic that is not nonsense, but is also not quite coherent. The 
sentences are all vivid, but the synthesis is jammed, somehow. This style 
bears some resemblance to Celine, perhaps, in Journey 10 the End of 
Night, but without his rascally confidence. This Anne Frank is, as you 
might expect, a ground-down, damaged psyche, making these stabs at 
expressing the inexpressible. Whereas a speed freak and a schizophrenic 
each have their reasons for language and logic breakdown, so would a 
survivor of the death camps have an obviously difficult time with these. 
Authors like Elie Weisel. Primo Levi, and Jerzy Koszinski haveall struggled 
with the conundrum of expressing events at the limit of comprehension. 
Weisel has relegated himself to nonfiction; Koszinski and Levi, after having 
apparently triumphed in this linguistic struggle, both committed suicide 
rather late in life. Both authors were thought to have "dealt with it," but 
then succumbed to the suicidal urge statistically common among 
Holocaust survivors. 

So then, what of Anne Frank? Of course, she wouldn't be the 
same before as after the death camp. This journal is presented in the 
shorthand sentences of someone taking notes: 

"All limits have been passed, dominated and transformed in the 
same way, subtle predators having fainted, leaving a dead weight upon 
the fingers, the stench of man's sojourn on earth. Operative metaphors 
penetrated, fragmented, the forest and the body buried in it moving on 
separate pivots, altering the pre-recorded future. 

Only compromise survives. There is no compromise possible." 
Needless to say, it's all about death. None of the child Anne's aspirations 

«o 00 0*000 

and observations. Certain themes crop up repeatedly; for example, "the 
forest." A neutral thing or place, but the site of so much death (the mass 
graves, the Death Marches, the bucolic camp locations) that it takes on 
another meaning for Anne, much the same way the trains or railcars are 
a constant fugue in Claude Lanzmann's movies. The whole book is a 
powerful evocation of bodies, cold landscapes, blood, time, lies, certainty, 
words, and most of all. memory. While difficult to read, it is absolutely 
worth the effort 

I had heard that the book used "references" from other literature. 
As I was reading. I was immersed, in its mood, but I didn't recognize any 
other distinctive passages. I looked up the author (McLeod lives in San 
Francisco) and found that the construction of the book was quite 
fascinating Amazingly, McLeod harvested and recombined "phrases" from 
other texts to create Anne Frank In Jerusalem Using at least 43 sources, 
McLeod described scanning these other books and compiling lists of 
phrases that he chose intuitively, with Anne Frank's second diary in 
mind. Then, with these lists of phrases before him, perhaps the list from 
Hitler's Nein Kampf from de Sade'syusf/ne. and from Emily Dickinson, 
he would compose a journal entry from combinations of phrases. Thus 
the weird sense of simultaneous clarity and ambiguity in the writing. 

1 have to admit, I am a form slut It's so unusual to see a movie or 
a book or mural, or whatever piece of art where the form is really 
maximized. The result of McLeod's method, itself a neat balance of 
intentionality and chance, is the creation of this universal vocabulary of 
despair and boundary, and an illustration of the relationship between 
the Holocaust and language that has been under scrutiny since 
Existentialism. -Greta Snider 

Logic Bomb: Transmissions from the Style Culture • 
Steve Beard 
218 pages • $16.00 

Serpents Tall • 4 Varick St • 10th Floor • New York, NY 

Beard was (perhaps still is?) a writer for the London 
"style" press, including magazines like ID, The Face, 
etc— the glammy, smart, ironic British fashion 
magazines that are such a glorious waste of time. 
But Beard isn't just a hire slob for the these rags 
(though he says just a few too many times to take it 
as anything but false modesty, that he is, in fact a 
hack) he's really, like, smart. So smart in fact that 
he dropped out of Cambridge short of finishing his 
' Phd because he realized how bankrupt the academy 

was, and decided that instead of wasting his time teaching he would 

really revolt against the dominant hegemony and write for fashion 

magazines. Baudrillard would be sooo proud. 

Away, Logic Bomb is a collection of Beard's writings for these 

style rags. They cover the usual stale subject matter of early nineties 

hipster magazines; William Gibson. William Burroughs, Virtual Reality, 

Gen X. blah blah blah. 

However, the book isn't a total waste, and here's where it becomes 

hard for me to express my feeling for it. Beard is a pretty good writer 

Q«D«© OQ&0 

(those years of high schooling were good for something, it seems) and 
some of the subject matter in here is incredible intriguing, namely the 
articles on British conceptual artist/musician Scanner, who records 
cellular phone conversation out of the air and makes records of them, 
and the article on the "otaku" fan culture in Japan (where what you 
purchase has become an overruling identity like never before). These 
pieces were really quite interesting, and Beard's analysis of it fun to 
read, although I wish he had spent more time on them instead of falling 
back on the half-assed excuse that the articles were reprinted from the 
fashion magazines, and therefore lacked depth, because well, they were 
written for fashion magazines. 

That is obviously bullshit This isn't a fashion magazine— it's a 
book, and if Steve had taken the time to re-work some of these articles 
and cut some of the very overdone material, then I think this would 
have been a much more absorbing read. 

Addendum: The book ends with excepts from Beard's Phd 
dissertation that he really should have left out No one wants to read 
your college papers, no matter how transgressive you think they are. 
-Sean Sullivan 

Disgruntled: The Darker Side of the World of Work • 

Daniel S. Levine 

274 pages * $12.00 

Berkeley Boulevard • 200 Madison Avenue • New York, 

NY • 10016 

The archetype of a "disgruntled worker", according 
to the reports we get from the press, is some irrational, 
fucked-up guy who comes into his old office one day 
and sprays his former co-workers with an Uzi, or who 
paints mindless obscenities on the front door with 
his own shit, or crashes the whole computer system 
with a virus, or something similarly stupid or 
disgusting. Media portrayals of "disgruntled workers" 
imply either the workplace equivalent of Beavis and 
Butthead, or David Berkowitz. What's missing from 
all these images is one simple fact: in most nineties workplaces, being 
disgruntled, bitter, pissed-off, and resentful about your job is the sanest 
and most honest attitude you can have. Few have ever had the luxury of 
viewing their job as a pleasant thing that's constructive to their sense of 
self, but in the last fifteen to twenty years, that phenomenon has dwindled 
almost into non-existence. Anyone you know with that attitude in the 
nineties is most likely deluding themselves. 

This, in fact, is the very idea that kicks off Daniel Levine's book 
Disgruntled: The Darker Side of the World of Work He leads off with a 
quote from Bertrand Russell. "One of the symptoms of approaching nervous 
breakdown is the belief that one's work is terribly important. If I were a 
medical man. I should prescribe a holiday to any patient who considered 
his work important.'' That, in a nutshell, describes the sanest attitude one 
can have towards the workplace-, it is, at best, a symbiotic relationship 
(more often parasitic) that allows you to eat. sleep, and live, while giving 
your employer one-third of your life to use as they see fit. 

The beauty of Russell's words is in their concision, and for the 
next two hundred and some pages, Levine proceeds to elaborate on them. 

«o 000*000 

laying out in detail the reasons why work sucks, and why it's getting 
worse. We may each have the sensation that our own job is ripping our 
guts out bit by bit, but reading Disgruntled gives it a depth that isn't 
immediately obvious, because it shows with beautiful clarity that it's not 
just you. It's something more widespread than teenage acne, and even 
worse, it's deliberate— the atrocious result of a dance between the 
corporate bosses and weasel politicians. 

This clarity and depth comes from the fact that Disgruntled is not 
an anarchist rant, but a carefully plotted history of the last fifteen years 
of labor and, corporate culture. Each chapter focuses on a different reality 
of work, including the decline of the unions, discrimination, downsizing, 
disposable workers, health and safety problems, and how to survive all 
of the above without taking Uzi in hand. The realities of each aspect of 
work is illustrated both on the individual level, through people's stories, 
and on the larger scale, through carefully-researched statistics and studies. 
Some of the stories are comic, such as the tale of the Motorola cellular 
phone plant in Illinois that instituted a policy forbidding employees from 
smoking in their cars while parked on company property, the punishment 
for violating the policy four times was instant termination. Motorola 
claimed that this was their "way to control litter and promote employee 
health," but ditched the policy after being shown up as jackasses in the 
press. Others are just nauseating, especially when they're not the stories 
of one or two people dealing with their employers' greed, but things 
taking place on a much grander scale. Levine gives excellent pictures of 
just how few resources workers have to protect them from the 
dehumanizing effects of work, and of how those resources are slowly 
being drained away. His chapter on unions, for example, looks at the 
decline of the power of organized labor, starting with the passage of the 
Taft-Hartley act in the fifties to the gutting of labor protections by the 
Reagan-Bush administrations (in particular Reagan's busting of the air- 
controllers' union in the eighties). 

But the unions don't get off clean in Levine's view. Unions can be 
just as corrupt or inept as any corporate officer — and they will be. as 
long as they're made up of human beings. The main criticism of unions 
that Disgruntled makes is one of complacency. Besides being reduced to 
fighting defensive battles just to survive, the unions have failed to devote 
themselves to organizing in new arenas. Levine quotes an organizing 
director at the AFL-CIO who notes that: "If we won 100 percent of our 
elections today, we still wouldn't organize what we did in the 1970s " The 
AFL-CIO has shifted its stance on organizing in the last couple of years, 
but the above quote shows just how far the unions — and the workers 
who have suffered from their decline — have to go. 

The last couple of chapters in Disgruntled are the most hopeful — 
a welcome change after reading page after page of how people are regularly 
robbed of their dignity, money, and privacy by their employers. Levine 
tells the stories of people who have managed to escape the degradation 
of the workplace, either by accepting a lower standard of living or finding 
some way to become their own boss. The catch to these stories, as 
encouraging as they might be, is that there's not much here that would be 
much help for folks like me, who do data entry for temp agencies or 
something equally mind-numbing. The sad truth is that to escape the 
grind of work, you have to be firmly established within the daily cycle 
It's good that there are so many people willing to fight back, to realize 
that people are recognizing a right to their own lives, but that is a right 
that gets harder and harder to exercise the farther down you are in the 

&J&J& OQQj 

system. As a temp. 1 still feel like the rung that people step on to get to 
the bottom rung on the corporate ladder. But although Levine may not 
be able to change brute realities like the one above, the clear vision he 
offers is definitely worth looking at. if only to have a better idea of why 
work sucks, rather than just knowing that it does. -Chris Hall 

Punk '77 «John Stark 

104 pages -$13.99 

Re/Search Publications • 20 Romolo *B • San Frandsco, CA • 


I James Stark issued the first version of this book back 

1 in 1978. It was a Xeroxed affair, produced in a 

I miniscule edition that was mostly handed out to 

1 friends and supporters of the early San Francisco punk 

I scene. Ten years later he went back to his original 

photos and fleshed them out with interviews and 

text. In 1992, Punk 77 was issued and was greeted by 

many as a key to the past that they had only heard 

I tales about. It was not long before this version too 

went out of print. In 1999 Stark approached Re/Search 

with the idea of reprinting his book. With the exception of an added index. 

a page of error corrections, and a short introduction. Punk 77 has been 

reprinted exactly as it first appeared in 1992. 

In the years since the pictures in this book were taken, punk has 
gone from being a movement based on individuality to a mall-bought image. 
The pictures and text that Stark has put together here serve as a reminder 
that punk was not always Top 40 and Warner Brothers, but a legitimate 
movement of artists and musicians looking to move away from the 

I would venture to guess that 99% of the readers of this 'zine were 
not involved in the punk scene when these pictures were taken (myself 
included), some of you were probably not even born at that time. That fact 
is what makes this book an important work: it is history. It is your history, 
a link to your past Stark interviews the important people that were involved 
in the San Francisco punk scene at its inception and follows them in his 
loo- photographs. In the pages of his book he features. Crime. The Nuns, 
The Dils. The Avengers, The Screamers, Devo. Blondie, The Sex Pistols, The 
Damned, The Ramones, Nico. The Zeros, UXA Negative Trend, and The 
Weirdos, among others. Stark chronicles what he saw as the birth of punk 
rock and also what he saw as the end of the powerful underground punk 
movement, when the Sex Pistols played their infamous Winterland show. 
However, for one brief shining moment San Francisco, like New York in the 
mid- to late 1970s, had a legitimate and thriving underground scene that 
will be fondly remembered for what it was: a gathering of people looking 
for something new. something other than what the status quo had to offer. 
And instead of complaining and sitting on their asses and doing nothing, 
they took charge and affected change. 

It is unfortunate to see the direction that punk has taken in the last 
20 years. Today the pictures in this book may seem silly to the suburban 
teens who buy their "punk" at the malls and chain stores, but back in '77. 
looking like those featured in the book got you more than a shake of the 
head when you walked out in public You opened yourself up for an endless 
barrage of harassment at the very least and invited a fight at the extreme. 

«o 000*000 

While this book is in large part a history lesson to those that were not 
there, it is also a reminder that these people changed the world in some 
ways., and in the end how can anyone resist a book whose first picture is 
a full page of the Dictators' Handsome Dick Manitoba? -Trent Reinsmith 

What A Sap I've Been • David Wilson McConl 

104 pages • $7.00 

Synthetic Productions • P.O. Box 2714 • Berkeley, CA • 94702 

What A Sap I've Been \s a book of short stories by the 
late David Wilson McCord. Dave McCord was a 
charismatic East Bay writer and musician who passed 
away in 1994 from a heroin overdose. Fellow writer, 
and one of Dave's best friends when he was alive. 
Jerme Spew has continued to publish this and other 
books by Dave McCord via the d.i.y. publishing 
company they started together, called Synthetic 
Productions. I've read short pieces by Dave McCord 
previous to this, and I was familiar with his former 
band KWIK WAY. but mat A Sap I've Been is the first time I've had a chance 
to read an entire book by him. What struck me immediately was McCord's 
ability to use the simplest of facts and the most obvious of details to lure 
the reader into the imaginary lives and landscapes he has awaiting them. 
McCord's created mysterious, slightly surreal stories that seem too sound to 
be completely made up. His smooth, confident writing style has the effect 
of further pulling the reader into worlds that can seem absurd and tangible 
at the same time. I knew better, and still found myself believing that all 
these characters and locations were just thinly disguised representations 
of real figures in his life. This is about the point when the stories took 
unpredictable twists and turns that could only happen in a piece of fiction. 
Limbless nude art models, pig-offing flying saucers, and pet rats 
that feed on dead junkies are just some of the characters that inhabit the 
stories in What A Sap I've Been. Dave McCord surrounds these characters 
with back stories and locations that seem so personal and gritty that the 
outrageous nature of these tales take on a greater weight and significance. 
The stories and their characters seem perfectly suited for the work of 
filmmakers like David Lynch or David Cronenberg. There is a certain amount 
of social commentary here, but I'm not sure that there was any real intent 
by the author to make this any more than just another pan of his literary 
puzzle. Each piece contributing to the overall success of his collected work. 
At the end of What A Sap I've Been are twenty-two pages of journal 
entries by the author. The text here outlines many of the problems that 
shaped the young writer's life. It's here that he describes the chain of 
events that ultimately lead to his death. The way its presented here is so 
matter of fact that I felt obligated to empathize with him, even when his 
actions were completely misguided and self-defeating. The journal entries 
start with accounts of the dysfunctional family life that caused him to act 
out against authority by keeping late hours and drinking with friends. Then 
it's on. from minor acts of rebellion, to sexual promiscuity and drug 
experimentation, which soon turned into heroin addiction and ultimately 
death. The oddest part for me, reading all of these stories, was how 
immediate and alive the writing seemed This made the actuality of Dave 
McCord's demise seem all the more tragic if not more than just a bit wasteful. 
-Jay Dead 



My be-belated New Year's resolution is to separate my- 
self from as much media propaganda as possible. This includes 
all types of magazines, from Hit List to Entertainment Weekly to 
the Hal Hartley internet discussion list I (used to) receive. My 
addiction to reading such things baffles my mind. 1 don't care, 
and am not even shocked, that the Warped Tour was out to 
make money, but 1 read the entire article. 

It's going to be impossible to completely cut myself off, 
but 1 will be satisfied to just sit back and say, "No, I haven't 
heatd anything about (blank) movie ot (blank) band". Can you 
imagine? It would be nice. 

The event that truly sparked this epiphany was when 
a friend of mine told me that Dreamworks is considered an in- 
dependent film company. 1 was having trouble understanding 
why everyone: reviewers, "indie" film discussions lists, people 
in general, kept referring to American Beauty as some type of 
independent film breakthrough. My personal opinions of the 
movie (boring, predictable, a movie for suburbanites who want 
to think interesting things happen in the suburbs when they 
actually don't) aside, it seems odd anyone would consider it an 
independent film. Steven Speilbetg, David Geffen and some 
other guy own Dreamworks. 1 don't think any more needs to be 
said, but, of coutse, this could evolve into a "what's punk" type 
of discussion. 

I say we just fotget the labels and judge movies on the 
content. Make a good movie and I'll go see it. 1 refuse to see 
something just because it's labeled "indie", 'cos you know when 
they do that, it's because the movie sucks and they are just 
looking for some marketing angle. 

So on that note, HBO produced a documentary: Black 
Tar Heroin: The Dark End Of The Street. It focuses on five 
San Francisco heroin addicts: Tracey, Jake, Jessica, Oreo and 
Alice, and follows theit lives for over two years. It is very well 
done; showing the audience why these people use heroin, how 
it is tucking up their lives and their attempts to get clean. There 
is an objective viewpoint that seems very cold, though I can 
see the necessity. The filmmaker films the addicts shooting up 
in every way possible: neck, hands, feet, shoulders, you name 
it- Some are so gruesome that people in the audience were 
groaning out loud. The guy sitting next to me, after repeated 
gtoans, got up and left the theater. 

I am always amazed to hear why certain people statt- 
cj doing heroin. I can never see myself wanting to try it. Tracey 
said she wanted to try it aftet reading William Burroughs. I've 
heard that from a lot of people, but I've read Burroughs with- 
out the desire to do heroin. Also, Burroughs wrote books while 
on heroin, but the [unkies who quote Burroughs as their inspi- 
ration don't seem to have any motivation toward accomplish- 
ing anything in that sense. I guess that's my biggest problem 
with that reasoning. Tracey claims to have a near-genius IQ 
and the desire to try everything life has to offer, until hetoin 
look over her life. Jessica says she statted doing it 'cos she was 
bored, though she seems the least likely to actually be a junkie. 
The others don't seem to have a teason. 

Near the beginning of the film Tracey is arrested for 
dealing and sent to jail for six months. She comments that drugs 
are easily available in jail, but that she has stayed clean. She is 
our tot eight hours before she starts using again. She also gained 
;i noticeable amount of weight in jail. She loses so much again 
that it seems impossible. I almost wonder if the before-jail and 
aftet-jail lootage weren't the same. It amazes me how severe 
the weight loss is. 

Although the title is Black Tar Heroin, the refer- 
ences in the film to Black Tat Heroin is few. In fact, none of 
the main people say that is what they are using. We are told 
that if you accidentally inject Black Tat Heroin into yout mus- 

cle (due to overuse, veins are hard to get into), it causes an 
abscess under the skin. It's quite scary as shown by Oreo's girl- 
friend. I was expecting a little more information on the Black 
Tar Heroin. It has been responsible for some people in San 
Francisco contracting the flesh-eating virus, but thete is no 
mention of this. It probably just seemed like a good title. 

Overall, this documentary seems more as if it's aimed 
at people like me, who will ptobably never do heroin. I wouldn't 
say it gives you a sense of superiority, but it's a similar feeling. 
1 noticed 1 was looking at people on the street a bit differently, 
wondering who was on heroin. 

It doesn't glamorize the drug, but it does make you want 
to shake some sense into the people that help the addicts. 
Tracey's mom sends her $1200 a month. Jake, later in the film, 
tests HlV positive, prostitutes himself on Polk Street, and is 
very messed up. He somehow starts living with a man who al- 
lows him to move in. Then, there is a seemingly staged scene 
where Jake is kicked out of the apartment because dtugs are 
getting in the way of the relationship. All I can wonder is, 
how did these two get involved in the fitst place? If you judge 
by the events in the documentary, he was obviously very sttung 
out before they hooked up. After seeing this, I have to remind 
myself of the addictiveness of heroin and try to be more sym- 

I needed something more innocent, like a teenage 
love story, but teen films these days are so lame. Kids with cell 
phones and the attitudes to match. I wanted something the 
equivalent of John Hughes for the '90s. Show Me Love is a 
Swedish love story between two teenage girls. It was extteme- 
ly popular in Sweden, where it beat out Titanic in box office 
sales. Sounds good already. 

Agnes is unpopular and rumored to be a lesbian. She 
has a crush on Elin, a popular girl who is bored with her life. 
Agnes' mom throws a birthday party for Agnes. No one shows 
up to the party, causing one of those fights between mother 
and daughter. I remember those type of arguments well from 
my younger days — it was vety realistic. Then, Elin and her sis- 
ter Jessica show up at the party. They were on their way to 
another party, but thought it might be mote fun to go to Agnes'. 
Of course, no one is there, but Agnes' mom gives the girls some 
wine, so they stick around for a while. 

Elin's interest in Agnes is sparked by a kiss she gives 
her to see what would happen. The story then develops in a 
sweet young love story way. Elin really likes Agnes, but pte- 
tends not to because of her friends. It's the oldest story in the 
book, but pulled off subtly. All of the characters have depth. 
They seem to invole real people, unlike most '90s teen films. 
You don't really see any teen lesbian films either. 

Aftet my recent trip to Spain, 1 was looking forward 
to seeing the documentary Antonio Gaudi, by Japanese direc- 
tor Hiroshi Teshigahara. It was made in 1985 and was shown 
for one night only in San Francisco recently. Spending a cou- 
ple of days in Barcelona, I was completely blown away by 
Gaudi's atchitectute. It's extravagant and makes quite an im- 
pression. It's truly amazing. 

The thing that blew me away about this documentary 
was fhat it made this inctedible architecture seem inctedibly 
boring. All 1 could wonder was how is it possible for anyone to 
make this subject seem dull. 

Teshigahata films it as if he is a tourist, walking around 
Gaudi's buildings with a hand helJ camera. There is very little 
dialogue, and subtitles that give the name of the building or a 
small fact about Gaudi. The only sound for 95% of thetfilm is 
a Phil Glass imitation soundtrack by an "award-winning com- 
poser" Toru Takemitsu. It just lulls you into a comatose state. 
The camera work is equally boring. He walks through an en- 
tranceway, tilts up, tilts down, pans right, pans left, zooms in, 
zooms out. Basic filmmaking, without any type of imagination. 
Compared to the seemingly inexhaustible imagination 


ofGaudi, Antonio Gaudi is a disappointment. After seeing the 
architecture up close, it is frustrating someone could have made 
this as a tribute to his work. - Carolyn Keddy 


The stuff of art-film nightmares happens in Julien Don- 
key-Boy, with its epicenter in suburban New Jersey. Gawky, schizo- 
phrenic, early 20-ish Julien (Even Bremner) has whacked-outs dia- 
logues with himself in his room, or still worse, on the curb in front 
of his house. Mostly, he talks about Hitler or Jesus. He looks like a 
nightmare, too, with metal-capped teeth, hair flying everywhere, 
and the agog glare of a mental absentee. His father (Werner Herzog) 
isn't much better; when he isn't watching figure-skating qn TV, he 
goes off on strange tirades every bit the equal of Julien's, or lays 
around his room wearing a gas mask. Dad makes a point of taunting 
and torturing Julien's younger brother Chris (Evan Neumann), 
berating him for his lack of manliness, or hosing him down outside 
in freezing water. Chris, who envisions himself as a Greco-Roman 
wrestler, also tortures himself by climbing up and down the stairs 
with his arms. Grandma is content toying with the dog and half- 
parroting her son. And Julien's sister Pearl (Chloe Sevigny) is seven 
months pregnant — with Julien's child. 

This freak show has overtones of God and Hell right 
through to its festering pit. The family goes to Baptist revival meet- 
ings every Sunday, during which Julien usually weeps, and the rest 
of the family sits thete as the crowd chants to the sermon. The 
irony in our anti-hero's name should not be lost on the audience. 
Julian the Apostate was the last Roman emperor to oppose Chris- 
tianity a millennium and a half ago; it's also the name of a 14th 
century mystic who purportedly had visions of Jesus and the virgin 
Mary, and wrote extensively on the nature of good and evil. You 
don't have to dig too far to figure out the derivation of his older 
brother Chris's name. Pearl plays the harp. In fact, the whole movie 
seems to aim for the feeling of a church revival set to the language 
of cinema, which is ripped apart over the course of the film. 

Don't look for establishing shots, coherent dialog, or even 
a story. Director Harmony Korine (who wrote the script for Bob 
Clark's controversial Kids as a teenager) splices together ultra-grainy 
color film, video, images dubbed off TV screens, exchanges between 
characters that are either dream-improvised, too far away to hear, 
or (at their worst) spliced so that they're a continuous incompre- 
hensible jump cut at half-second clips. Moments of silence alter- 
nate with opera. Few of the scenes are related to the ones that came 

High-profile filmmakers and ex-filmmakers like Bernardo 
Bertolucci, Gus Van Sant, and Jean-Luc Godard have rallied around 
Korine as it he were the holy carrier of a new film language. Maybe 
for cineastes. Julien Donkey-Boy definitely has a liberating under- 
ground feel to it, but it can also run the gamut from rebellious to 
exasperating (in an embarrassing, artsy kind of way). As the not- 
quite-a-story develops, we're made aware that Julien's Dad is be- 
hind his childrens' compulsions (and maybe a recessive gene or 
two). Dad tries to get both of his sons to wear women's clothing — 
and Julien actually does while wrestling his younger brother in the 
front room. When Julien offers a poem at the kitchen table, Dad 
excoriates him for the sin of bad verse, then goes on to explain why 
the climactic scenes in Dirty Harry qualify as high art. After these 
intense family conflicts, Dad frequently retreats to his room, taking 
swigs from his stock of Robitussin PM, and then launches into his 
own schizophrenic ramblings. His best friend is an armless man 
who has the talent of being able to pull aces at random from a 
shuffled deck with his feet — what he sees as God's equalizer for his 

Aside from bearing her brother's child, Pearl emerges as 
the family's one relatively sane human being here, though she, 
Julien, and their offspring meet a tragic end. And yes, the film does 
eventually end — though not as quickly if Korine had anything to 
say about it. He recently admitted he preferred his 6 1/2 hour 

director's cut to the 92 minute release print, a remark that indi- 
cates he's destined to make films that play to an audience of one. 
After the art students and film fans tire of his shriek, who's left' 

Consequently, Korine has everything to gain from his 
affiliation with Dogme 95, a small group of Danish filmmakers who 
require members to make a "Vow of Chastity". Basically, this in- 
volves strict adherence to Dogme 95's Ten Commandments in an 
effort to ensure the artistic purity of their output. For example, sound 
must be filmed along with the images (and never dubbed after- 
wards), optical filters are forbidden, everything must be in color, 
and the director must never be credited. But these rules are appar- 
ently applied in a loose, Catholic sort of way, because Julien Don- 
key-Boy — which won a Dogme 95 certificate — violates every 
one of the above rules at one point or anothet. Maybe they Just 
need more converts. 

You may disagree, but I don't believe that Ten Command- 
ments were sent down from heaven to Moses, nor that the precepts 
of Dogme 95 — which were written up in less than a half an hour 
— constitute much of a cinematic religion. However, those inter- 
ested in joining the creed will want to check out Korine's debut 
directorial effort Gummo, which was thought to be so nasty that 
Fine Line Features denied it a commercial release and sent it straight 
to video. 

Like Julien Donkey-Boy, Gummo plays better on paper 
than on screen, but with the eye-jarring photo-effects mostly gone, 
it's considerably more watchable. In Xenia, Ohio, a trailer-trash 
town visited by a killer tornado twenty years earlier, the kids mostly 
watch over themselves. Ferret-faced Solomon (Jacob Reynolds) has 
a mother who tap-dances in oversized shoes in-between threaten- 
ing the boy with a gun; if he doesn't smile, she'll shoot. She feeds 
him spaghetti and candy as she shampoos him in the bathtub. He 
and his wasted friend Tummler (Nick Sutton) supplement their 
income drowning or shooting cats, then selling them to a the local 
supermarket, which in turn sells them to the Chinese restaurant. 
There's not too much to do locally save sniffing glue, or boning a 
local whore who may be borderline retarded. A pair of skinheads 
like to punch each other out for fun, and the local albino girl with- 
out toes has a crush on Patrick Swayze. Another pair of girls try to 
increase their breast size by putting electrical tape on their nipples, 
then ripping it off. And there's a coven of kids who listen to death- 
metal and worship the devil. All the teenage girls are bleached 

But it's easy to concenttate on Korine's fascination with 
the human freak show and downplay his disarming moments of 
actual sensitivity. There's a visit to the hospital, where a teenage 
girl has to face the terrifying prospect of a mastectomy. Another 
kid diligently takes care of his grandmother, who's being kept alive 
by a machine and hasn't talked or moved in months. In a public 
toilet, a young, victimized kid wearing pink rabbit ears plays the 
same notes on his accordion, over and over. 

They say the best way to tell a lie is to mix it up with 
truth, and that's Gummo's basic strategy. Just after you groan over 
some adolescent attempt at shock, a streak of tenderness and nos- 
talgia will come through in the film's mix of home video and sul- 
len, withdrawn narration. The same problem with credibility stems 
from Korine's use of amateur actors, whose performances can be 
anything from riveting to excruciating. 

As with Julien Donkey-Boy, it's almost a given that the 
farther characters are from Korine's age, the less true (and more 
freakish) they become — whether they're child-molesters or men- 
tally unhinged. Korine may understand kids, but he doesn't have a 
clue about the other two-thirds of the population. 

Gummo is not particularly shocking. The film is too slow 
and non-linear to arrest or excite. At the same time, it's not a bad 
film; I'll even wager that if he doesn't succumb to his wotst tenden- 
cies, Harmony Korine may eventually pull it all together and pro- 
duce something that works from start to finish. 

Maybe. Just not this time. - Steve Spinali 

Hil JdihSJ 

by Chuck "New Wave Nolan 


Note: this is a new section 

in MRR. sort of combining 

the Scumpit and Pioneers 

of Punk. Here, we're gonna 

focus on bands that fall in 

between the cracks of 

those two sections, as well 

as bands that would have 

fit squarely in either. If 

you want to write an article 

about a band, get in touch! 

It's better to 

write to make sure 

we can use the 

article first Or. if 

you have a band 

you think we should 

write about <but 

don't want to do 

the dirty work 

yourself), let us 


A word of advice: card-carrying "punk rockers" atop reading! If shining your chainwallet, 
bleaching your hair, and digesting the latest musical dung corporate labels are shelling out, 
takes precedent over original thought, you don't need to go here. However, if concepts of true 
punk (DIY records, booking your own life, and following your own genetic imperative) appeal 
to you, then proceed to the tale of the sadly forgotten NY pop-punk groundbreakers, The Fast. 
According to Louis Bova, bassplayer on The Past's 1980 debut LP, punk was not created 
overnight, and there is an often overlooked "gray era" between the glam movement of the 
early to mid seventies, and punk's sociological upheaval. The Past started as early as '78, 
fronted by Past mastermind guitarist/songwriter Miki Zone, and his brother Armand (Mandy 
to his buddies) Zone. Early rare cuts sound influenced by Bowie, and The Who, but the 
roughness of unbridled teen-angst give the songs a flavor more appropriately described as 
maximum rock and roll. Early gigs were played in lofts, and rented spaces, in a scene inhabited 
by NY Dolls, and Wayne/ Jayne County. 

Armand, a most gifted singer, fronted The Past until late '78, when youngest brother 
Paul Zone was appointed f rontman, and Mandy moved to keyboards, and interstellar backing 
vocals. Paul's less trained, adenoidal vocal delivery (at times recalling influences Alice Cooper, 
and Brian Eno) combined with his rock star looks made him perfect as Miki Zone's foil during 
the NY punk vanguard. 

Paul recalls Dee Dee Ramone approaching an already established The Past, about the 
formation of his new band! The Ramones played one of their first gigs, opening for The Past, 
and remain in contact with Paul to this day. 

The '76-77 era Past was visually stunning, in the tradition of the NY scene, where 
according to John Holmstrom, everyone was an individual. This tradition carried over to bands 
like Minneapolisi The Replacements, where you could have guys looking like Rod Stewart, 
Peter Perrett of The Only Ones, and your local gas attendant, all on one stage! Paul Zone had 
long hair reminiscent of Kiss' Paul Stanley, yet Miki sported spiked hair, and Armand was 
decked out in goth attire, sporting a strangely Nazi looking armband, with his initials on it! 
Like the Stooges, Dead Boys and Sid Vicious, Mandy was no fascist, and was merely morbidly 
fascinated by German aesthetics. 

The first »* g" of potential success occurred when The Fast came under the wing of seminal 
NY punk venue Max's Kansas City. The classic Max's 1976 compilation CD (available right 
now on if you hurry!) contained 2 Past classics Wow Pow Bash Crash, and Boys 
Will Be Boys (preceding similar sentiments conveyed by David Bowie in his classic tune Boys 
Keep Swingin'). 

However, during the mass punk major label signings of 76-78, The Past were 

unfortunately tied to RAM records, Max's label. In order for The Past to have been signed, 

Max's entire roster of artists needed to get signed too, and as a result, they were overlooked. 

The Fast's determination to succeed is admirable, and they plugged along in the 

seventies with excessive touring, releasing singles, 
including a seemingly J.G. Ballard inspired song Cars 
Crash, with backing vocals by Jayne County. 

During the close of the seventies, it almost 
seemed the name The Fast was becoming a burden. 
It seemed that they didn't mesh with certain factions 
of punk's intelligentsia, and a rapidly solidifying 
philosophy. According to Punk magazine, and 
current High Times editor John Holmstrom, The Fast 
could be perceived as iteenybopper wannabesi 
though they were icertainly respected by everyone.! 
It must be noted here that the Sex Pistols also never 
hid a desire to succeed, but on Mr. Holmstrom's 
behalf, he doesn't like them either! John does state 
that strangely enough, The Ramones also thought of 
themselves as a teenybopper/bubblegum band. 
Despite the fact that one could choose to view The 
Fast as sharing the same principles as punk icons The 
Ramones, the stigma remained. As a result, the band 
changed their name briefly to Miki Zone Zoo, though they still had to go brought the band to 
Electric Ladyland Studios, for sessions that would result in The Fast's debut LP, For Sale 
(released on the Zone's DIY label Recca). 

Combining 6 Ric tracks, with their previously released singles, For Sale is an impressive 
document of the band's evolution. Earlier cuts like Kids Just Wanna Dance, and Boys Will Be 
Boys seem to presage the tradition of punk-pop, that can be exemplified by The Damned, The 

Dickies, on to the modern day punk-pop era 
of Green Day. X fans would be happy with 
Sizzler, which mixes cool rockabilly with 
punk feel. My favorite cut, It's Like Love, is 
a power pop gem, that combines masterful 
lead vocals by Paul (that recall Eno's Here 
Come The Warm Jets), with Armand's 
soaring backing vocals (recalling Frankie 
Vallie and the Pour Seasons of all things!) 
The Fast shared a penchant for classic ireali 
rock and roll with The Ramones. The LP was 
mainly sold at shows, and on consignment at 
record stores. 

Despite friends in high places (like 
Blondie, who thank Paul on the liner notes 
to Plastic Letters) the big break never came, 
but The Past (now merely called Past) kept 
plugging along, making them, according to 
Trouser Press guru Ira Bobbins, "early 
examples of the DIY bootstrapping'ethic." 

Things get bizarre around this point, 

and on their second, and swan-song LP, 

Leather Boys From The Asphalt Jungle, The 

Fast became forerunners of two musical 

movements, queer -core and Goth. During 

previous work, The Past toyed with bisexual 

issues, but so did the whole glam movement, 

including straight bands like 

Mott The Hoople and Sweet. Fast 

were now giving a more direct 

representation of the gay 

leather underworld that was 

inhabited by the increasingly 

drug addicted Zone brothers. 

Videos filmed during this era 

show the band in black, and 

Paul in head to toe black 

leather. The whole band 

wears futuristic 

wraparound shades that 

also cover the nose (any 

old timers out there 

remember Incognito 

advertisements in Creem 

magazine, selling these 

"phantom" glasses, that 

were also worn by DEVO 

circa '79?) The whole 

aesthetic recalls later 

incarnations of The 

Damned, and a certain Mr. 

Beznor (but unlike Trent, 

these goth godfathers 

seem to be having a good 

time in their videos I) 

By this point, Ian North, of NY's 
prototypical power pop band Milk 'N' 
Cookies (what a fuckin' name!) had joined, 
and according to Paul, "has no memory" of 
doing the videos! I guess if you remember the 
Max's/CBGB golden years, your weren't 
really there! 

Toward the end, Fast were once called 
"a male Plasmatics" in the press. Pictures 
show Miki wearing crazy whitef ace makeup, 
and Paul sporting a Wendy Williams 
looking mohawk, furry pants and vest (ala 
Captain Sensible), and a big snake wrapped 
around him! 

On a serious note, the drugged out tales 
of yesteryear often take on mythological 
proportion, but the reality of the matter, is 

that around this point, Paul suffered heart 
problems, and is lucky to be counted among NY 
rock's survivors. As a result, Paul's antics began 
to tone down, swinging from the rafters at a 
show didn't have the same appeal sober, and 
another metamorphosis began. 

Line-up problems were another issue. At 
one point in Fast's tumultuous line up changes, 
Tommy Victor of mega-metal group Prong was a 

Though the name Fast clung up until about 
84, Paul and Miki finally said goodbye to 
drummers and began creating music inspired by 
new wave synth bands like Soft CelL They finally 
went all the way with their vision, and became 
the electronic duo Man 2 Man, with the aid of 
electro-funk godfather Man Parrish. 

Like Martin Scorceses modern myths Taxi 
Driver and The Xing of New York, success has 
the damnedest tendency to follow tragedy. On 
December 31st 1986, Miki Zone died from a 
combination of AIDS, and cocaine abuse. The '60s 
British Invasion was the earliest influence of the 
Zone Brothers, and Paul had to play The Top Of 
The Pops without his brother. However, Paul 
feels the Zone brothers finally achieved their 
dream, although Miki couldnit be there in the 
flesh. The Man 2 Man single Male Stripper 
hit #4 on the UK charts, and 
remains to this day, a must 
for any electronica DJ. 

Paul reunited with 
Armand (Mandy) briefly in 
the late eighties, under the 
name Zone Brothers. Sadly 
Mandy passed away in 1996, 
another victim of the 
AIDS epidemic. 
Paul spent his money 
wisely, and bought 
property in NY, that 
pays his bills in LA. 
Paul continued with 
Man 2 Man into the 
early ninties, but an 
Italian label has 
recently sought some 
new material, so the 
saga may continue. 
Paul still continues to 
produce music, and 
has recently worked 
with Angela Bowie, as 
well as NY friends Dee Dee Ram one , Lydia 
Lunch, The Cramps, and Jayne County. Due to 
recent interest in The Fast, Paul is currently 
seeking interested indie labels for a Best of the 
Fast reissue that he has compiled, including 
much unreleased material. Sadly, without an 
extensive search for vinyl, the Max's comp is 
your only chance right now to hear 2 tracks from 
an amazing body of work. 

For more information regarding The Fast, 
please check out the website at: http:// Also check 
out current issue #28 of the excellent Boctober 
magazine, for an extensive article on the Zone 
brothers. ( 1607 E. 83rd St., PMB 617 Chicago IL 
60618). The author of this article can be 
contacted at Paul Zone 
can be reached at: 

•V/A-Max's Kansas 
CityLP: Boys Will Be 
Boys 8c Wow Pow Bash 
Crash (LP/76, Ram 

•It's Been Love/Kids 
Just Wanna Dance 
7"(77, Ram) 

• Boys Will Be Boys/ 
Wow Pow Bash Crash 
7"(78, CBS) 

•(As Mike Zone Zoo) 
Coney Island Chaos/ 
These Boots Are Made 
For Walkin' 7" (78, Zoo 

• Cars Crash/B -Movies 
7" (79, Sounds Interest- 

•V/A-Sharp Cuts: Kids 
Just Wanna Dance 
LP (80, Planet/ 
•The Fast For Sale LP 
(80, Becca) 

• V/A-New Wave Hits 
For the 80'S: Boys Will 
Be Boys/Kids Just 
Wanna Dance LP (80, 
Max's Kansas City 

• Ozone (featuring 
Armand Zone)-I Could 
Have Been/Broken Toy 
(81 , .Max's Kansas City) 
•Leather Boys from the 
Asphalt Jungle LP (81, 

•Moontan/Love Is Like 
an Itchin* in My Heart 
(82, Recca) 
•V/A-Max's Kansas 
City CD (96, ROIR) 



The Casualties 
Available on 
CD & LP 






One Wav System • 
New Release -^ 
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on CD ' 




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Valentine Killers defeat 4 song 7" 

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Tribute CD 

flO covers of each. 

Wailable on CD only. 

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Amazing emo from CT 
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• H-STREET - 7" (US press) *" ^ [/ 

chain of strength + skateboarding + austria *L 
see for yourself, out february 2000. 

^COMING SOON (don't order yet) 

• ATARI - Discography CD 

this will include all releases to date, 
(demo, both 7"s, comps, live?, and JSF!) 
•VOORHEES - John Peel Sessions 10" 

brutal, straight forward 80's style he from the UK 
with a negative approach feel to boot, check it out. 

• McRAD - live 7" 

if you don't dive for your board at the first 
note in weakness, you don't skate. 



Checks and MOs to Joe Biel 

PO Box 42513 Philadelphia, PA 19101 

distributed exclusively by very - mailorder - 7" S3. 50 US, S5.00 Foreign 


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"welcome.." 7". Great NJ DRAW "bad.." 7". The 
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For Catalog With 100's Of 
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< ^™* /quiggly 





^^%m^^ FIFTEEN 
~^%^Q$^&$^^ MONSUL A 
l^^g^SK^ GR'UPS 
'later, that same year, ..." compilation CD gg^ 
$7 + $ 1 shipping, concealed cash or money 
order(payable to J. Mink). 
No checks, serbs, or americans 
P.O. Box 21588 Our hot and kinky line: 

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Send MRR your release for review. Don't send wimpy, arty, metal, MTV corporate rock shit here. Don't have your label give us follow-up calls as 

to whether we received and are reviewing a record. We want punk, garage, hardcore, and will review all those that fall within our area of 
coverage. Include ppd price when mailing. If possible, send 2 copies of vinyl records (1 for MRR, 1 for the reviewer). We will review CDs, but just 
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stood that any independent release deserves credit for all the work and money that goes into it. Staff: (PA) Peter Avery, (JB) John Backstrom, 
(PB) Paul Barger, (EC) Enrico Cadena, (BC) Brianna Chesser, (RC) Rob Coons, (AC) Arwen Curry (DD) Dr Dante, (NF) Neale Fishback, (JF) 
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Sean Sullivan, (JV) Jason Valdez, (MW) Max Ward, (RW) Ryan Wells, (SW) Shane White, (JY) Jeff Yih, (RY) Rema Young. 


ACADEMY MORTICIANS - "Shallow Permanence" CD 

This album could have been just another simple 
BAD RELIGION clone record, but there's something else 
going on here. While many of the songs follow the simple 
structure of most Epitaph types, the simple production and 
clean Fender guitars give this record an interesting '60s 
garage edge. The vocal harmonies are the only thing connect- 
ing them production-wise to the BAD RELIGION sound. 
Politico lyrics like RANDY, and I do mean that some of them 
sound like they've been translated from Swedish. (LH) 
(Smokin' Troll, 48 Llwyn Beuno Bontevewydd, Caernarvon, 
66552, UK) 

A.D.E.S. - "Prontolo Vereis" CD 

I have been betrayed. At first the European Metal blessed 
my little ears and then it never went anywhere new or even 
interesting. Repetitive metal hardcore with some funky songs 
just to mix it up in a fucking lame way. (TJ) 
(W.C.. PO Box 41019, 28080 Madrid, SPAIN) 


Hmm, ALLIED JAGET from Norway definitely have a 
crossover appeal to them. Thrashy metal core with hoarsely 
yelled vocals. Not quite metal, not quite hardcore and not 
quite bad. (RC) 
(Heart First, Bockhstr. 39, 10967 Berlin, GERMANY) 

AMULET - "Life On The Edge 
Of Chaos" EP 

The look of this record has 
MADBALL knucklehead-core 
written all over it. But fans of 
recent Swedish hardcore know 
that Bridge Records wouldn't try 
to sell us any of that crap. AMU- 
LET rips through four songs with 
no corny kickboxing break- 
downs. Sure there are slow downs 

but no bass heavy 1-2-3, 1-2-3. Tight mix of 

BETTER THAN A THOUSAND, early Victory Records, 

and BURN. (TH) 

(Bridge, Box 1903. SE-581 18 Linkoping, SWEDEN) 

Well it looks like a total Seth Putnam fest here, consid- 
ering he is in both bands. This is all live stuff from various 
radio shows. The ANAL CUNT stuff is exactly what you 
would expect from them. Out of control speed, noise and 
utterfucking mayhem. INSULT go for more of aold school, 
fast and furious hardcore style. All the recordings are really 
good, and the CD is worth getting if you are a fan of either 
(Wicked Sick, PO Box 650)01, West Newton, MA 02465) 

ANTICHRIST - "The Blind" LP 

Jesus on the the front cover, yet the ANTICHRIST 
converting souls to the darkside from within. Thunderously 
heavy when mid tempo, without being redundant, then 
breaking into double bass drum frenzies on the drop of a 
dime. (TJ) 
(Malarie, PO Box 10, 60-170 Polznan 27, POLAND) 


Brazil ' s ARM AGEDEON are back, bringing with them 
everybody's favorite wannabe Brazilians, Finland's own 
seems to have a more death metal influence on this record 
and have slowed it down considerably. FORCA MACA- 
BRA may wear their influences on their sleeves, but when 
your influences are OHLO SECO, RATO DE PARA, and 
the such, it's a good thing. This record is brought to you by 
those two lovely people al...(JF) 
(Six Weeks, 225 Lincoln Ave, Cotati, CA 94931) 

ASTRID OTO - "Welcome 
Home" EP 

This sounds a lot like the 
GRU'PS, with scratchy male 
and female vocals trading off 
over messy punk rock. I like the 
GRU'PS a lot more, but this 
isn't bad. Nothing ground 
breaking. It's Aaron Cometbus' 
new project. It's on red vinyl. 
(Meconium, PO Box 25 1 7 1 . Raleigh. NC 276 1 1 ) 



THE AUTHORITY - "On Glory's Side" CD 

This is pretty good. By far this band's most powerful 
release to date, and I must say that Bill's vocals are better than 
their previous singer's. Fifteen songs of solid street punk. 
(Outsider Records, PO Box 92708, Long Beach, CA 90809) 

BARBWIRES - "Rattlehead" 

Oh, yeah that's right.. .ride 
that wave, ride the 
wave.. .Swedish Surf!! The first 
few bars of "Wave Rebel" re- 
mind me of the intro to the 
CLASH'S "Lost In The 
Supermarket".. .but I'm weird, so 
that doesn't matter much. It's 
three original instrumentals that 
sound like your standard beach band. I may not like water, 
and I hate the beach but I loves me some surf guitar! ! (BM) 
(Kook, Kocksgatan 23-1 16. 24 Stockholm, SWEDEN) 

BARBWIRES - "See That Seagal" EP 

Surf garage rock that doesn't do shit for me. I'm sorry, 
but this record has all the creativity of the latest BACK- 
STREET BOYS record. I don't know what I did to piss off 
Mr. Hopkins, but he ain't getting shit for X-Mas. (JF) 
(Zorch, Schantzgatan 2C, II, 703 66 Orebro, SWEDEN) 

THE BAR FEEDERS - "Pour For Four, Por Favor!" CD 

The wait is over! Frisco's finest goof thrash band's 
second CD is finally out! Quirky rhythms and blazing speed 
continue throughout with a couple awesome acapella mo- 
ments. The booklet contains all their wacked lyrics, silly tour 
photos, and a glimpse into the madness known as 
the BAR FEEDERS. An awesome live band you oughtta 
check out on their spring US tour. (HM) 
(Fast, 401 Broadway #201 1, New York, NY 10013) 


Mind" EP 

Six pissed. ..six? Yeah, I 
guess so. Six pissed-off dudes 
from the Peach State who play 
fast, loud 'n' angry punk rock 
quite similar to anumberof COS 
bands. This isn' t bad, but there ' s 
just so much better shi t out there 
that I prefer to spend my time 
listening to. (NF) 
(Mad Skull. PO Box 57 159 1 040 BB, Amsterdam, NETHER- 

BOMBS - split EP 

Here's apunchy 'HI release 
coming from the Spanish air- 
waves. Straight up Espanol spo- 
ken here. The 
jabs with two short and sour 
one's with AEROBrTCH speed 
and enthusiasm. The 
BONUS side blazes like a Span- 
ish version of SMOGTOWN with a tough hardcore edge. 
Rockin' shit. (DL) 

(Betty's Punk Secret, correos 175, 28930 Mostoles, Madrid 

BORN DEAD ICONS - "Part Of Something Bigger Than 
Ourselves" EP 

From dark and brooding, to fast and pissed — this varies 
in pace among the four tracks but could definitely be filed 
under political/crust/hardcore, y'know...all that stuff. Not as 
heavy or hard hitting as HIS HERO IS GONE, though not far 
off it (and they have that "HHIG School of Graphic Arts" look 
on the packaging) this lacks a little something I can't quite put 
my finger on, less dirge-more rage maybe? First release on 
this label. ..(AD) 

($5 ppd: Deranged c/o Gorden Dufrense. PO Box 543 Station 
P, Toronto, Ontario, M5S 2T1, CANADA) 

Betty's punk secret p 

resents: fa^l 

amttLummmmmw. ' 


, 1 


» :? 1 




Blood" LP 

From the school of more is less, this plotting pair ride 
one earnest chord down the track. Stickin' to a gentle, bluesy 
locomotive rhythm that keeps this train of sexy-lyrical innu- 
endo a rolling, rolling, rolling me into drowsy oblivion. (DL) 
(Wabana, P.O. Box 381700, Cambridge, Massachusetts 

BROGUES - "Modern Modes" EP 

I always try to think of amateur-ish stuff as charming. 
Unfortunately, sometimes it's just shitty. Such is the case 
here. This reminds me of UK DECAY. Lots of effects on the 
guitar and screaming vocals. Fuck, they even screw up "Can't 
Explain," which is about as tough to do as fucking up "You 
Really Got Me". Nuff said. (RL) 
(Morphius, PO Box 13474, Baltimore. MD 21203) 


I BUCK - "Christmas in my 
Heart" EP 

When I was little, my dad 
was cool. Then one day he be- 
came an ultra-right-wing freak 
who drank himself into a stupor 
to Patsy Cline records, so basi- 
cally I fucking hate country 
music! I also hate Christmas 
songs. The combination of the 
i two makes the a-side of this 
records one of the most horrible sounds I've ever heardr The 
b-side is a rock song called "Father Christmas" and it's no 
picnic either. This record was a waste of my time, of studio 
lime, of mastering time, of record label time and of valuable 
natural resources. Tim would have called this acrime against 
punk, and I'd have to agree. Basically, I'd like to say this 
sucks, don't buy it, and if you get it for free, just throw it at 
some yuppies or something. (BC) 
(Sympathy, PO BOX 292407, LA, CA 90029) 

'Deprogramming The 

| Jocks" EP 

I hope this driving hard- 
I core band never suffers the in- 
dignity of the "youth crew" de- 
scription. In your face and able 
to keep their tight and structured 
songs loose, add slight melodies 
to a slightly ugly sound, and lyr- 
I ically make political observa- 
tions accessible in an every day living kind of way. Aspects 
of AMENITY, mid-period ENDPOINT, 

CHAIN TO THREAD may tickle your ears. (TH) 
(Eternity. Lundgren, Strandgatan 30B, 633 43 Eskilstuna, 

CATHARSIS - "Passion" CD 

Passion is most definitely what this band has.. .whether 
it's the bone-crushing music (which is way beyond what 
others have done in recent years), the lyrics, or the live 
performance. If the anarcho- zine Fifth Estate played 
crushing hardcore, it would sound like CATHARSIS. Their 
fans have probably already gotten this, but for those afraid to 
dabble with the metal-core, why don't you start off with the 
band who has proven their intelligence, originality and above 
all. their impact. Awesome to say the least. (MW) 
(Crimethlnc. 2695 Rangewood Dr, Atlanta, GA 30345) 



This record arrived so damaged that I was barely able 
to hear one song per side. FIENDEAD is from Santa Fe, and 
they play some whip ass hardcore that's a cross between 
AXIOM and PHOBIA. CATHETER draws the same com- 
parisons, which means if the rest of their songs are as good, 
then I'd reccomend it. Hypothetical^ speaking, of course. 
(Bad People, PO Box 480931, Denver, CO 80248-0931) 

THE CHORDS - "So Far Away" LP 

I'll make this simple. JAM fans alert! JAM fans alert! 
I'm sure fans of the CHORDS will regard it an unfair 
comparison, as the CHORDS were arguably better, but 
spatial constraints force me to resort to linking this reissure 
of their 1 980 release with a the band whose shadow I'm sure 
they were always sick of inhabiting. Not as good as the 
JOLT, says Greg Lowery. (DD) 
(no address) 


Most of the liner notes are in German, so I might be 
wrong on some of this. It's either a sampler from a previous 
Hardcore Festival, or there's one coming up January 24th 
that these bands will be at. Regardless, both bands tear it up, 
with rough, frenzied hardcore— CHOREA working aquicker 
pace, and ASMODINAS LEICHENHAUS utilizing more 
distortion and noise. Lyrics are translated for both, and touch 
on alienation, daily struggles, materialism and relationships. 
Great split— the packaging is nice, the music rips, and 
there's some obvious thought behind it all. (TM) 
(Flowerviolence, Augartenstrasse 15, 68185 Mannheim, 

"Tigerbaby" EP 

By the looks of this band 
alone, I knew I was going to 
like this. These kids look pa- 
thetic, wasted and scary. They 
could be left over from the 
uncool part of the sixties. The 
first side starts out with what 
sounds like footsteps, but is 
actually the kick drum for 30 
seconds. The song starts slowly and sounds like I'm playing 
it at the wrong speed. I change to 33, but when the song real ly 
kicks in, it's obvious that I need to go back to 45. Obnoxious 
rating is a ten. Music resembles STOOGES through the ears 
of BRAIN BOMBS, except that the band comes across as 
not really knowing what the hell they are doing. I mean that 
in the best possible way. The singer croons to the point of 
whining, but it's easy to get wrapped up in the music and not 
think about the whining too much. Very cool. (CK) 
($5 ppd: URU, Buskvagen 28, S-61 1 45 Nykoping. SWE- 



COWBOY SUIT - "Surround- 
ed" EP 

These guys are trying to 
hide the fact that they want to be 
an emo band behind the fact that 
they can't really play, so they 
make a bunch of very jumbled 
noise. Maybe they just need to be 
recorded better. It sounds too 
muddled. (CK) 
(Nightrain Vinyl, PO Box 6347, 


The three-song CRIMINALS side is good stuff, gruff 
per Jesse L., and tuneful enough to hold the sloppiness, 
which was one of the band's potholes on the first 10". They 
keep it tight and driving this time around, feet on the 
pavement. AAA is not strictly ska-core here, except for the 
horn (sigh), but they still are hyper-melodic. Nursery-rhym- 
ey, even. The harder parts are snotty (voice) and sincere 
(words), when the up-and-down bouncy tunes don't domi- 
nate all the punk rock. AAA does a CRIMINALS song, and 
vice versa. The Bay Area's still sneering. (AC) 
(Sub City. PO Box 7495 Van Nuys, CA 91409-7495) 

• *•« 

DAY'S WAIT - "Saturday 
Night-Fever Dance Activists" 

Aggressive yet catchy pop 

punk along the lines the poppy 

/p/j/t. STRUNG OUT stuff, like their 

^'tljJH-* — first LP on Fat - Five songs that 
T*f[ are written well enough to keep 

a usually boring style of music 
interesting. Big plus for the real- 
ly thick white vinyl. A record 
well worth listening to. (PA) 

(Radiation Star, Renweg 1, 93049 Regensbure, GERMA- 

"We're Digging Our Own 
Graves" EP 

Six songs of vitriolic me- 
tallic hardcore with a definite 
environmentalist bent. Suburban 
sprawl, pollution, factory farm- 
ing, and the exploitation of in- 
digenous peoples are some of the 
I topics that come under scrutiny, 
1 and you can rest assured that 
DEFACTO OPPRESSION don't like any of them. Nice 
packaging too. (AM) 
( 1 520 Tainter St, Menomonie, WI 5475 1 ) 


UCATE - split EP 

Whoa. Midwest striking 
again — had heard about these 
bands, but hadn't seen anything 
yet. Gotta love any record that 
has songs starting with slower, 
almost ('80s style) mosh parts, 
then crank immediately into a 
frenzied, chaotic attack of gui- 
tars, choked vocals and general 
mayhem. Slow it up a couple of seconds later, then repeat. 
Structure is there, but the building is collapsing anyway. Flip 
is the earthquake vs tornado — slower and creeping, but 
arriving at the same place. Lyrics working the spiteful, 
personal politics of everyday life for the most part, with 
some forays into larger concerns. Best clear the area. (TM) 
(Disgruntled, 827 Somonauk Street, Sycamore IL 60178) 


These sisters pull off some pretty legit gangsta packag- 
ing including lyrics, but they sound more like a cross 
between the RAMONES and old VANDALS. Nineteen pop 
punk ditties and a silly dance version of "Whoop There It 

Is!" with asurprise ending. Pretty mediocre, but entertaining 

none the less. (HM) 

(To The Left, PO Box 4829, Boulder, CO 80306) 

Jerusalem" CD 

This 21-song CD contains 15 tunes from their "Ain't 
Street" CD (possibly the exact same versions). At least three 
more tracks are from other DERITA releases making this 
some sorta simultaneous re-release or European special 
release. By the time I finished listening to both these 
DERITA CDs a few times, I'm definitely sick of some of 
these tunes and I maintain my stance of their melodic pop 
punk mediocrity. (HM) 

(Smokin' Troll,48 Llwyn Beuno, Bontnewydd. Caernarfon. 
Wales LL55 2UH, UK) 


My pick of the month. This German band has all the 
energy and attitude of the REGISTRATORS and TEEN- 
GENERATE. The recording quality is excellent, the songs 
are short and fast. This restores my faith that punk is not 
dead. (DP) 

(Screaming Apple, Dustemichstr. 14, 509 39 Koln. GER- 



G S, H & 

THE DICKIES - "Archives" LP 

A cool bootleg featuring a few alternative takes ("Out 
Of Sight. Out Of Mind". "Toxic Avenger"), demos ("Mon- 
ster Island". "H.I.V."), live unreleased tracks ("Monster 
Mash". "I'm Leonard", "Walk On The Wild Side", "Nobody 
But Me") and more oddities ("I'm On Crack", "Diamond 
Mine", "Monkey See, Monkey Do")! Not essential, but 
really fuckin' cool. (HM) 
(Hit & Run) 

Goes Around Comes Around" 

Ok, I have to admit, 
just did not do anything for me. 
They were always way too over- 
produced and written from for- 
mula. Well, this EP has convert- 
ed me now... this is so unbeliev- 
ably heavy (I actually thought I 
had it on the wrong speed). Man. 

now if all their records sounded like this. I would be a fan for 

life. Check it out. even if their last releases did nothing for ya. 


(No Fashion. Caixa Postal 03, CEP: 13450-970, Santa 

B.D'Oeste-SP. BRAZIL) 


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EGGHEAD - " Dumb Songs For Smart People" CD 

Tim does it again! Wussed-out pop punk for all of the 
inhabitants of GeekRock USA™ to consume as if they were 
ravenous feral dingos and this was Meryl Streep's baby!! 
Rise my geeky betheren! Rise up I say!! Buy, steal, borrow 
and never return a copy of this beautiful little gem!! It's a 
compilation of odds and ends from this late great New York 
band, who would influence the likes of the 
KUNG FU MONKEYS (all three members later joined for 
their "Shindig" EP) and DIRT BIKE ANNIE, to name but a 
few. I am not a smart person, but I too enjoyed this CD!!! 
(Mutant Pop.5010 NW Shasta. Corvallis. OR 97330) 




Than Ever/You Can Be My 

English '60s revival 

shit that don't sound that moth- 
erfucking good. ...this shit just 
reeks of being pussy-ass 

music both sides have been 

LAME!!!! what's a fellow to 

do????.. .LIE???!!!!. ...yeah, I 

know, doing record reviews 

hurts peoples feelings and egos, but that's rock-n-roll, 

baby!!!!!!!!!!. one gets out alive, not even 

me ! ! ! ! ! get on the stage, you're subject to a pie in 

the face.. ..(SW)....P.S... never trust a record reviewer.... 
(Guerssen. C/Sant Marti 59, 5-A, 25004 Lleida, Catalonia, 

ENEMIES - "Get Bent" CD 

The ENEMIES are originally from Concord, California 
but they have pretty much been based in Oakland the last few 
years, and I've seen them play underground shows countless 
times. Live, the ENEMIES play dark, intense, melodic 
hardcore. With Kevin Army behind the boards, the ENE- 
MIES sound much more on the melodic side of things. Kevin 
Army's great for some bands, but terrible for others, espe- 
cially hardcore bands. Jason, the ENEMIES' drummer, 
really shines through in spite of the production values. Don't 
get me wrong, it's worth a listen definitely. (JV) 
(New Disorder. 445 14th St, San Francisco, CA 94103) 

ESTRELLA 20/20 - "Afromexicana" 10" 

What the fuck IS this??? Lo-fi garagey freak fest, I 
guess. The hooks are catchy, the vocals are snotty, but there 
is way too much weirdness to pass this off as just another 
crummy garage act. There are horns, slide guitars, weird 
psychedelic type noises etc. If you like your rnr heavy- 
medicated and all fucked up. give this a try. Don't worry, it's 
OK to like something on... (ST) 
(Estrus. PO Box 2125, Bellingham. WA 98227) 

THE EXCELS/THE SWANKS - "Let's Dance/Ghost 


Another winning jukebox single from Norton. I think 
the EXCELS were from Texas; I know I've got this on some 
(probably out of print) comp. At any rate, it's not to be 
confused with the CHRIS MONTEZ/RAMONES song of 
the same name. I'll hazard a guess (what do I know?) that 
the SWANKS' version of the oft-covered and highly rock- 
ing instro "Ghost Train" is the original. Thumbs up. big 
daddy. (DD) 
(Norton. Box 646, Cooper Station. New York. NY 10276) 



FID - "What's Your Poison" CD 

The best thing about this band is that they have a fella 
named Hoser in it, which I think is pretty fuckin' cool. Other 
than that, they sound like Dr. Frank singing forMXPX. (NF) 
(no address) 


FIRST ALERT - "Trade The 
Life/Silly Game" 

Another good record from 
these great Japanese punk/pow- 
erpop-ers on the elusive Man- 
grove label outta Japan. Both 
sides sound like they could be 
^ lifted right off the 100% Mod 

■■i ^ \ '70s comp; we're talkin' spot-on 

imitations of flange-driven 1980 
UK mod-pop. Fan? Buy. Casual 

punker? Buy the comp. it'll be way easier to find... (RW) 

(Mangrove, ACP Building. 4-23-5 Koenji Minami Sugi- 

nami-Ku, Tokyo, 166-0003, JAPAN) 

FIVE CENT DEPOSIT - "Your Mother Likes Us When 
We're Drunk" CD 

Pretty much inoffensive pop punk. It comes. It goes. 
You know, nobody really wants to encourage this kind of 
band. But I guess it's not really hurting anything either. Wait 
a minute, they just fucked up a TURTLES' tune. That's 
fucked. This CD makes me think, I don't know anyone that 
actually owns an MXPX record. (LH) 
(PO Box 158, Centereach, NY 1 1720) 

FOUR PAST MIDNIGHT - "Jesus Christ It's 4PM 
(Again!!)" CD 

All the way from Glasgow, Scotland, 4PM play fast 
paced catchy Brit-punk that varies from toe-tappin' poppy 
ditties, to harder angrier street-punk. This is a sound effort. 
"Wasted Life (The Story Of Little Jimmy)" is a great song, 
as is "Hands Off, throw in a cover of the PARTISANS' 
"Police Story" and you've got a killer album. Printed lyrics 
would have been nice as it sounds like they have a lot to say. 
Good stuff, hope they're not Rangers fans — or I take it all 
back... (AD) 

(Smokin* Troll. 48 Llwyn Beuno, Bontnewydd, Caernarton, 
LL5 2UN. UK) 



Everything that the band did in their five year history on 
one easy LP. Well, actually 330, on white vinyl through 
mailorder only. Don't worry, it's on CD as well. Includes 
two demo songs that I had never heard before. I found out 
I wasn't really missing anything. This shows their obvious 
progression as a band, their last LP being the better part of 
the record, keeping to their earlier pop punk sound but 
adding more power. I'm having a hard time being objective 
about the 7"s because they were close enough to the cheesy 
crap that I was listening to in high school, but were one of the 
reasons that my punk tastes branched out. I don' t know what 
I'm saying, but this is really a great pop punk record and it's 
great to see it all available again. (PA) 
(No Idea, PO Box 14636 Gainesville, FL 32604-4636) 

FRONTSIDE S.C.H.C. - "Last Day" CD 

Hopeful '86 style hardcore packed with the good qual- 
ities: catchy, straightforward and heartfelt. Some elements 
of early DAG NASTY with a little '90s punch. (TJ) 
($ 14 ppd: Resist, PO Box 372. Newtown. NSW, AUSTRA- 
LIA 2042) 

THE FROWNIES - "Familiar Faces" CD 

"I just heard the greatest band last night!" my girlfriend 
exclaimed, "they're right up your alley, exactly the kind of 
stuff you're into, they're called the FROWNIES." I mind- 
lessly agreed (like a good boyfriend) to eventually look into 
them but forgot all about them until, lo and behold, they 
managed to wind up in my bin this issue. ..I had to break up 
with that girl because of this band and I can honestly state 
that my beloved has no taste whatsoever (which explains 
me). They sound like what everyone thought AVAIL would 
sound like when they signed to Fat. This bores me to tears 
and annoys the hell out of me since I don't like AVAIL or 
Fat. It's got its moments when they even sound like early 
RANCID (minus the street punk/East Bay influence). I'm 
sure their label loves me for yet another unflattering review. 
(Fast, 401 Broadway # 201 1 New York, NY 10013) 

FUN PEOPLE - "Middle Of The Round" CDEP . 

Imagine if you will, a band comprised of members of 
CHEAP TRICK and the MISFITS, playing a '50s rock 'n' 
roll/'70s punk hybrid. This release is ultimately infectious, 
driving and somehow touching. I don't even mind the disco 
cover song either. Oh yeah, and they are from Argentina, 
too, for what it's worth. I want to hear more. (BG) 
(Ugly, CC 2975 CP (1000), Correo Central, BS AS, AR- 

i 3 (J 


Day" EP 

Pretty cool early HC-in- 
fluenced punk from Italy. I hear a 
cross between old BLACK FLAG 
and something like 

some '70s punk influence to boot. 
The occasional out of con trol gui- 
tar parts are the best part about 
this release. Five songs, all mid to 

fast-paced. Not bad. (BG) 

(Rumble Fish, Via Giusti. 93 72015, Fasano (BR) ITALY) 


GORE GORE GIRLS - 'Mama In The Movies" EP 

Raw, trashy R 'n' B garage punk done the way it was 
meant to be done. There's lots of messy, yet stompingly 
catchy distorted hooks and hollers here. These three women 
draw the perfect razorblade line between pop and aggres- 
sion. And it's great to dance (really hyper) to also. The title 
song sounds like a fucked up and murderous version of the 
Jeffersons TV show theme. The B side is no clunker either. 
Not only is this probably the best new garage that I've heard 
in a long time, but they were nice enough to send along a 
complementary GORE GORE GIRLS mirror as well. Bless 
their vicious little hearts. (BG) 
(Charles, 4767 Commonwealth Detroit, MI 48208) 

GG ALLIN - "Res-erected" CD 

Back from the grave.. .here you get a taste of America's 
underground pride and joy live. Captured is classic Mr. Allin 
in his purest form...spittin. kickin, rapin and pillagin' your 
ears with pure hate in that inimitably vile style we have all 
grown to hold so dear. Also included is an interview and 
some scarce tracks from GG ALLIN 

& THE MURDER JUNKIES rehearsals when 'ol 
DEE DEE RAMONE tried his hand at joinin' the band. 
Yeah, get in the Xmas spirit, and don't miss this great 
stockin' stuffer for the kids. (DL) 

(Reachout International, Inc 61 1 Broadway Suite 411, New 
York, NY 10012) 

KEN - split EP 

BROKEN plays a slower 
version of AUS ROTTEN hard- 
core, along with SUBMACHINE 
style vocals. Lyrically, BROKEN 
addresses problems with the 
scene, while occasionally offer- 
ing their own blend of simple 
solutions. Not too bad. A GLO- 
BAL THREAT plays a crusty 
version of youthcore, and their lyrics seemed particularly 
relevent because the day I reviewed this record was also the 
last day of the WTO conference in Seatlle. A decent release. 
(Controlled Conscience, 320 Rt.8 1 , Killingworth. CT064 1 9) 


The TEMPLARS and GUNDOG are two of the very 
best oi bands playing today. On this record, both display 
why. with two of the better songs that either has put out to 
date. Very, very good! (NF) 
(New Blood, PO Box 52, Gravesend DAI 1 9ZL UK) 

- "Looking For The Bully Of 
The Town" EP 

Well, the guy on the right 
looks just like an uglier version 
of this guy who threw all of my 
pistachio nuts at Tom Guido one 
fall night... Anyhow, what we 
have here, is four fun numbers 
that could easily be used in an 
old John Wayne movie. Old 
Western gun battletype stuff with a little bluegrass riffs here 
and there played very well. Recommended. (NF) 
(Goodbye Boozy. Via Villa Pompetti 147. 64020 S Nicolo. 
Teramo. ITALY') 


'50s girl rock 'n r roll that rocks but only really takes off 
on every third song. "Cat Got Your Tongue" could have 
been on "Plastic Letters". Not a bad record at all. but that's 
the only real stand-out. The music has more in common with 
a non-ska DANCE HALL CRASHERS than it does with 
BLONDIE. Hopefully, they'll really let loose on the next 
record. (LH) 
(Get Hip. PO Box 666. Canonsburg. PA 15317) 


HINDSIGHT - "The Natural Science" CD 

Ooh. so deceiving. This ihing starts off pretty powerful, 
with a somewhat emo/straightedge number. What? The 
second song sounds like BIG DRILL CAR. Then the next 
four sound similar to the first STRUNG OUT record. Lots of 
octaves and muting, upbeat drumming and a mix of clean and 
raspy vocals. Parts of "Three Weeks to Live" make me think 
they are getting back on the right track, but... Somewhat of a 
frustrating listen. (PA) 

(Building, PO Box 1010. Dee Why, NSW 2099, AUSTRA- 

INFORMERS - "Resistance Is Not Futile" CD 

This is kinda funny. A fairly serious attempt at political 
punk using Star Trek: The Next Generation as its main 
reference point. "I wish all the big tycoons, bankers and 
leaders could soon get doomed to stay in warp bubbles". 
Wow. Otherwise catchy pop punk with lots of crazy stops 
and starts that make all of the vocals seem like an after- 
thought. Is that Picard on the cover? (LH) 

HOMEMADE - "What Were We Getting Into..." CD 

You want big rock production? Want pop metal for the 
punk generation? Maybe some indie-style vocals to top it off, 
and make it a salable formula? Then, yes, this is the band for 
you, just be sure not to play it around mc. I hear the sound of 
a group primping for the major leagues. (BG) 
(Theologian, PO Box 1070, Hermosa Beach. CA 90254) 

LONG JOHN HUNTER - "Ooh Wee Pretty Baby!" LP 

A fantastic collection of 45s and outtakes from those 
sessions recorded between 1961 and 1963. 
LONG JOHN HUNTER was relatively well known in Tex- 
as and Mexico, but his reputation never really spread any 
further. Fortunately for us, we have Norton Records. It's a 
very rock and roll version of the blues. Love songs and 
insirumentals. Amazing. (CK) 
(Norton, Box 646. Cooper Station. New York. NY 10276) 


Four out of the seven 
thrash songs by INSULTmake 
fun of handicapped people. It's 
really not very humorous at 
all. Here's one: "Being crip- 
ple is no excuse/get a job, get 
up and walk/ Being cripple is 
no excuse/get out of that chair 
you legless slob." Or even 
worse: "You can't read or 
write/you will never ride a bike/ you can't wipe your ass/you 
can't feed yourself/burden to everyone." I hope the three of 
you get hit by a car, become paralyzed and have to be tube 
fed for the rest of your intire lives, you assholes. But RUIDO 
rules! Excellent hardcore from LA all done in Spanish. (SR) 
(Know. PO Box 90579, Long Beach, CA, 90809) 

HYSTERICS - "You Lose Some, You Lose Some More" 

So. what happens when your two favorite bands are 
ZOINKS or the INVALIDS, or not quite as good as the first 
two, the HYSTERICS. Although they do keep the cheesy 
one-string lead guitar parts to a minimum, there isn't much 
to this record that has not been done a million times. And 
really, when was the last time you saw a pop punk kid lying 
in his own filth in an alley? (PA) 
(Flammable. PO Box 7714. Chicago. IL 60680-7714) 


This is a bootleg of the fucking punk-as-fuck 1978 LP 
by the now-legendary Dutch punk band IVY GREEN. 
Almost every song on this is a winner. This is snotty, guitar 
chug-punk with lots of 1 977 punk attitude. This IVY GREEN 
bootleg would be recommended to fans of the old Belgian 
band the KIDS, also recently bootlegged. The sound quality 
is good. The sleeve is identical to the original. The inside 
label is white (blank) with no numbers in the dead wax. (BR) 
(no address) 

INDECISION - "Release The Cure" CD 

The brutal chugga hardcore rants of INDECISION that 
you have grown to love continue. Thankfully their storm of 
aggressive music has not dissipated. Tough New York (Brook- 
lyn) style that is also thoughtful, a rare combination. (TJ) 
(MIA. 315 Church St. 2nd Floor, New York, NY 10013) 

J CHURCH - "Slanted" CD 

Even though this is listed as a Japanese only greatest 
hits release, it sounds like more of a Peel sessions or demos 
type of release to me. Pretty raw primitive production. A 
good release for J Church completists. (RL) 
(Snuffy Smile. 4-24-4-302, Daizawa, Setagaya-ku, Tokyo 
155-0032. JAPAN) 


JOLLY GREEN GIANTS - "Busy Body/Caught You 

Couldn't tell you a thing about the 
JOLLY GREEN GIANTS, whoever they were, except that 
this single is part of a slew of Norton reissues hitting the 
stands this month. All mysteries aside, it's a fun single with 
loads of church organ, choppy guitar, and soulful lyics from 
some dude wailin' about how his baby done him wrong. ..I 
imagine that these guys were handed a cease-and-desist letter 
by the legal heads of Green Giant Inc., which led to their 
breakup, financial ruin, and eventual mass suicide. (JH) 

KING OF THE COMMANDOS - "Instro Solidarity" 

This is an mostly-instrumental, organic product of a few 
clearly "different." yet ambitious minds. Surf-y guitars, 
percussion that does not quite allow for relaxation, hand- 
claps, occasional tambourines and vocals-as-instruments 
round out the "concept" record. The "concept" is explained 
to us in a series of neat little cards enclosed in lieu of a lyric 
sheet. "We have found a joy ," they say. "in some certain kind 
of sound." A similar result might be achieved by locking Dr. 
Dante in a broom closet with some pots and pans and a 
hungry cat. (AC) 
(URU, Borgaregatan 10. S-61 1 30 Nykoping. SWEDEN) 

LAST IN LINE -"Crosswalk" 

Holy shit, where the hell 
did this come from? This is fuck- 
ing mind-blowing, heavy-hitting 
Boston hardcore that is fucking 
pissed. This reminds me off SSD/ 
something. Has all the energy 
and speed of the "new-school", 
but retains the energy and anger 
of the early 80s. Hell, even the cover looks like this is from 
the '80s! Best record I heard this month. (MW) 
(Use Your Head. PO Box 297977, Columbus, OH 43229) 


The song structures, snappy female vocals (this is Kath- 
leen Hanna' s new band kids), and even the offbeat/humorous 
lyrics might remind you of the B52s on songs like "My 
Metrocard," but their aggressive eclecticism (with strange 
mixes of instruments like synth, drum machine, and electron- 
ic doo-dads) brings them closer to the spirit of PIZZICA- 
TO 5. The songs are intentionally repetitive, but there's a 
fresh quality in the band's sound that's completely winning 
if you're willing to give yourself over to it. Film fans will 
giggle at "Cassavettes" — but this is not typical MRR fare, 
and"may trouble those looking for three-chord guitars. (SS) 
(Mr. Lady. PO Box 3189, Durham, NC 27715) 

LITTLE DEATHS - "Destination Sexy" CD 

A local scene band that includes MRR zine mogul 
Mikel as well as members of the MOONS and FIGHTER D. 
Good post-punk type punk with topical lyrics containing 
loads of imagery. Not unlike gothy TSOL. In fact, when I 
first heard these guys, I thought they sounded like the first 
RIKK AGNEW solo LP, which is a good thing. Maybe a 
little early MOCKET too. A strong debut release. (RL) 
(Heartcore c/o Ernesto Foronda. Columbia University Sta- 
tion, PO Box 250636. New York, NY 10025) 

THE LOMBARDIES! - "Throw Your Love Away" LP 

Solid pop punk tunes with the emphasis way over on the 
punk side. Plenty of songs about girls, and. ..not much else. 
The song about scoring with the babysitter leads the pack: 
"She's so rad/Twice my age/Don't stuff her bra/Oh Yeah!" 
From the looks of these boys they may have still had a 
babysitter as recently as a year ago. Great grasp of rock and 
roll, great hooks, upbeat. Akin to newer pop snotheads like 
the B-SIDES and the JOCKS (TH) 
(Lawless, PO Box 689. Hingham. MA 02043-0689) 

MAN ALIVE - "City Mile" EP 

Ska-influenced hardcore 
that isn't really good. In fact 
except for the fact that the songs 
are uptempo, this record sucks. 
I just wish it was on 45 instead 
of 33. because then this record 
would have been over even 
sooner. (JF) 

(Reminiscent, 2525 Lewis Ct. 
Lakewood, CO 80215) 

er Fucking Liked You" EP 

Yeah, in the first few sec- 
onds of the record. I was thinking 
"Oh. I get it. 

more seconds into it and I was 
thinking "Tom. you're a shit- 
mouth." Rough, raw hardcore 
with quirky influences through- 
out. There's a solid mid-west hardcore backbone, but also 
well placed injections of newer German hardcore, spooky 
TSOL stuff, and hectic San Diego hardcore. Extremely far 
from being a disposable debut EP. (TH) 
($3.50: 53238 Saturn. Shelby Township, MI 48316) 



o u a ® 

- "They Fell For You" EP 

Psychedelic lo-fi indie 
rock that reminds me of SEBA- 
DOH. Unfortunately. I never 
liked SEBADOH, and I don't 
like this either. It's kinda just 
tries and fails. If you want a bet- 
ter version of this type of music, 
! check out FLAKE MUSIC in- 
stead. (RL) 

($3.50: Uncarved Block, PO Box 3195, Dana Point, CA 


From I964-'66, this Swedish band (whose adventures 
brought them into the presence of the KINKS and the WHO), 
toured the world with their upbeat style of jangly rock 'n' 
roll. This pulls together their various extant recordings to 
provide an impressive portrait of this band, from bluesy 
twang-fests like "Bama Lama Dama Loo" to thick YARD- 
BIRDS-y raves like "Hoochic Coochie Man" (recorded live — 
a brilliant track). Nearly all fifteen tracks are a treat — not to 
mention the fascinating liner notes. Very highly recom- 
mended! (SS) 
(no address) 

"Conspiracy/By My Side" 

"Conspiracy" has a brood- 
ing fuzz guitar line snaking 
through deep vocals with the 
noise quotient going way up on 
the break; A- OK by me. "By My 
Side" is roiled cover of 
the ELOIS (I'm pretty sure; I'm 
shocked to find that there's no 
[ copy of the first Ugly Things 

comp in the MRR archive) number. [Prepare thyself for the 

clever wordplay capsule review.] Evil? Maybe. 

Necessary? Yes! (DD) 

(Goodbye Boozy, Via Villa Pompetti 147, 64020 S. Nicolo 

A Tordino, Teramo. ITALY) 

If?!® 35?! 

NEIL PERRY - "The Last Sip Is 90% Spit" EP 

Grind core? Emo? Both? Yeah, going in and out of both 
of the two somewhat the same way that MOHINDER did, 
yet much more bass heavy. Machine gun drumming, 100 
mph guitar and screaming or growling vocals, then the bass- 
heavy breakdown with the slow pounding drums and they 
even throw in a couple of the whispery emo parts. Nine 
songs that all kind of run into each other. (PA) 
(Spirit Fall Nine, 2 1 5 Hancock Ave; Bridgewater, NJ08807) 

NERVES - "Midnight Sun/ | 
It's Gonna Rain" 

The a-side is propelled by 
one big ass riff that moves like 
happened. Actually, it's pretty 
in-your-face rock/psych that in 
some ways makes me think of 
STEPPENWOLF, if they had 
happened afterpunk. Crazy out- 
of-control vocals that worry a 
lot more about delivery (with a 

drawl) than beingnote perfect. SortofaCHROME CRANKS 
feel to it. (LH) 
(Estrus. PO Box 2125, Bellingham, WA 98227) 

NO ALTERNATIVE - "Johnny Got His Gun"'78-'82" 

Fuck the LEWD revival. NO ALTERNATIVE was 
actually one of the best punk bands in the early SF punk 
scene. In fact, this is in the same league as the AVENGERS. 
DILS, and CRIME. Fronted by the legendary and very cool 
Johnny Genocide, this band was the shit. This includes both 
singles tracks, live tracks, and more. This makes up for all 
those punk re-issues with one good song. Classic and essen- 
tial! (RL) 

(Wingnut, PO Box 59, 1442A Walnut St, Berkeley. CA 

NOFX - "The Decline" CD 

This is a long punk song. The only long punk song I've 
probably ever loved was the ADOLESCENTS' "Kids Of 
The Blackhole". In fact, this may even be longer than 
IRON MAIDEN'S "Hallowed Be Thy Name". Which is 
pretty fucking long. At over fifteen minutes this has many 
changes, but is still a cool song. It rocks, then it doesn't, then 
it does again. A punk rock "Tommy"? (RL) 
(Fat Wreck Chords) 



I THE NOMADS - "She'll Al- 
ways Be Mine" EP 

I tell ya, the young kids 
from Scandinavia have begun to 
rock like nobody's business in 
the last few years, putting out 
rockin' punk rock over and over 
again. But these young kids got 
nuthin' on THE NOMADS, who 
have been putting out '60s influ- 
enced punk 'n' roll for tens of 
years. Shit these guys are probably in wheel chairs now, but 
they can still rock your fucking socks off without a problem. 
The other thing I like about these guys is that they never seem 
to be tied to a label. They put out a record for Screaming 
Apple one month and Bad Afro or Estrus the next — there's 
something pretty cool about that. The A-side seems to be a 
studio cover, while the B-side's got live versions of two 
previously release cuts. (KK) 

(Screaming Apple., Dustemichstr. 14, 50939 Koln, GER- 


What was started as an excuse to hang out and drink in 
the early '90s hasn' t progressed much, maybe even digressed 
with the look of their bonus "comix book"...egads, (fucking 
waste of paper). Sometimes sounding like pretty decent tuff 
NY hardcore, then rocking out like a bad version of 
the HOOKERS, then jammin'/rappin' (whatever this shit 
is?) then throwing in a little Beer City sound here and there. 
NRS V are too drunk to know that they should hone in on one 
music style before destroying many. (TJ) 
(Triple Crown, 331 West 57th St. #472, New York, NY 

NOTHINGS - "A Lot To Learn" CD 

The NOTHINGS, a band I'd never heard of, gets their 
I i ve-song 1 983 EP reissued on CD with a couple extra tracks. 
It'sOK. kinda plodding punk with pop touches in the vocals; 
the guy can sing. Notable really for two members eventually 
signing on with the superior CREAMERS later in the decade. 
Historical art-e-fact. (RW) 

(Augustus. 22287 Mulholland Hwy #304, Calabasas, CA 

NOT HOT - "Party Rock! Vol. 1" CD 

Sloppv garage pop punk with mostly gal vocals. Think 
early CHUBBIES and GRUMPIES. I get the feeling these 
guys all went to college together and answered an ad on the 
dorm bulletin board. Goofy and fun stuff that fans of amateur 
rock will dig too. (RL) 

NRA - "Amsterdam Surf City" LP 

The first song begins with dry, tip-tappy late '80s style 
chanting he, then gets all weird; inexplicably moog-y at the 
end. The second tune sparked my interest quite a bit more — 
I just can't figure these guys out. Some songs, while not 
about girls (oh, shit, they are about girls), have a melted, 
latter-day Descendents feel, but once agin, much weirder. 
There's an infusion of lush, almost organ-like bass and other 
ceremonial effects that snap back at intervals into classic he 
riffs. Similarly, the lyrics range from spacy interpersonal 
imagery to straightforward stuff like the over-and-over 
chorus of "Final Warning." Difficult to rock out to for long, 
but this was quizzical enough to hold my attention. Indie 
rockers revisiting prog rock, take note. (AC) 

OBLIVION - Sweatpants USA" CD 

I like this band's sense of adventurous fun. It really 
shines through in their music, as well as their lyrics. They 
meld the perfect pop beast out of melodic, sweat-drenched 
punk and old AM radio hits. "Olney" is one of the best songs 
I've heard in the last month or so. Makes me feel energetic, 
yet wistful. They have a mean sense of humor, and a mean 
way with hooks, to match. Great music to listen to while 
remembering past summer escapades. (BG) 
(Suburban Home. PO Box 40757, Denver. CO 80204) 

ONE FINE DAY - "What We Share..." CDEP 

I don't usually like bands that remind me at all of 
BAD RELIGION. There's barely enough room in this world 
for one of them, much less 1000 pale imitations. Somehow, 
this is the first that I don't mind that much. They at least do 
the style with a little bit of fire. They also have ALLish sort 
of disposition at times. They are requisitely catchy, rocking 
in the right spots, it works. You get six songs in about 15 
minutes. (BG) 
(no address) 


A older (1988) demo from this defunct Philadelphia 
band. Reading the liner notes, it's said that they had a serious 
impact on the Philadelphia scene, and "lay to waste the 
musical stylings of headliners CHAIN OF STRENGTH and 
UNIFORM CHOICE". (My caps). Weird, as this is but a 
decent derivative of-bands like that. Nothing that wasn't 
being done all over the country then, and there's nothing 
obvious here that sets this above many bands from then and 
now. Maybe if you were there. ..(TM) 
(Corrupted Image. 739 Manor Street. Lancaster PA 1 7603) 



Demo" EP 

The stop-on-a-dime posi- 
tive punk in this 50-song EP 
employs churning hardcore licks 
mixed with chugga-chugga 
breaks to create what comes off 
as an amalgam of early-'80s DC 
and Boston styles. The fact that 
it was recorded in 1997 makes 
this derivative in a de facto sort 
of way; but it's done crisply and well. Solid for the style.'(SS) 
(Crucial Response. Kaisersfeld 98, 46047 Oberhausen, GER- 

OVER THE LINE - "The Demo" EP 

It's odd to hear this European youth crew sound done so 
roughly. There's nothing to really write home about here. 
These guys might be awesome live, but I can't say that this 
holds much appeal, even for the '88 revivalist in me. Note: 
pictures of kids rocking out = cool. Illustrations of football 
players = bad. (ST) 

(Crucial Response, Kaiserfield 98, 46047 Oberhausen. GER- 

PALATKA - "The End Of Irony" LP 

What to say about these Floridian kid geniuses? PALAT- 
KA were one of my favorite of the '"90s hardcore" bands. 
They brought together the humor, the politics and the over 
the fucking edge blasting hardcore together in one fine 
package. Unfortunately, they have left this mortal plane for 
a belter world, but lucky for you, they left behind one last 
record. This one-sided LP is a bit more accessible than their 
previous efforts, but not too much. The one thing that always 
separated PALATKA from the crowd (meaning bands like 

END OF THE CENTURY PARTY, who all rock like no- 
body's business, so don't go getting all huffy) was their 
ability to write lyrics that were suitably obscure, (to keep all 
those "nineties" grad student HC kids amused), while still 
saying something, both politically and personally. They will 
be missed. (ST) 
($7: No Idea, PO Box 14636, Gainesville. FL 32604) 


First up, the band name is kinda stupid, but we all make 
mistakes. Second up, this is a good power pop record from 
an up and coming power pop label. The A-side is up there 
with the YUM YUMS stuff. 1979 and proud. The Hip is an 
acoustic ballad that is a decent song too, considering it's an 
acoustic ballad and all. (RL) 
(Break Up!, PO Box 15372, Columbus, OH 432 15) 

PLASTINATION - "Tutto Nulla" LP 

I'm really not into this. I think their vocalist is an opera 
singer on the side. Italian punk that sucks and is boring. The 
fourth song on this album has a soft rock breakdown. Oh 
please! No more of those crazy guitar solos! (SR) 
(El Paso Occupato, VIA P. Buolc, 47-I0I27,Torino. ITA- 

To Kick Your Shin" EP 

Singing about their spikey 
hair, laced up boots, pogoing 
and drinking beer, these guys 
are just out there having a great 
time being very silly. lean imag- 
ine them listening to the 
don't have anything that these 
bands have that make them great. PM sound much more 
juvenile, crazy and raw. (SR) 

(Pogo 77, 1-101-1 Rokukoudai, Matsudoshi, Chibaken. 

POISON IDEA - "Discontent" 

This is a bootleg of one of | 
the hardest punk bands to ever 
come out of Portland, Oregon. 
The records starts out scream- 
ing with "Discontent". Brutal! 
The next track is "Jail House 
Stomp". Fast as fuck and very 
dangerous! Now this is hard- 
core! The sound quality on this 
bootleg is better than most. Side two starts with "Plastic 
Bomb" with some vicious metal guitar leads. The grand 
finale is a live version of the song "Motorhead" which is 
bursting with vigor. The sound on the live song is not quite 
as good. You punks realize that Lemmy and MOTORHEAD 
were dropping bombs on the music world twenty years ago! 
(no address) 



KIND - split EP 

England s 
land's UNKIND both crank out 
some fierce political crust. I 
would have to say that 
POLICE BASTARD'sthick and 
meaty riffs won me over. Un- 
wise and their squealing guitars 
I unfortunately came off as slight- 
ly generic. (RC) 

(Fight. Hikivuorenkatu, 17 D 36, 33710. Tampere, FIN- 

if till sir 


PRODUCT X - "Who Makes 
The Heros" EP 

Solid straightedge hardcore 
from the Netherlands. This is 
really good except for the drum- 
ming. I couldn't tell if it was the 
recording or just poor drum- 
ming. It just didn't seem to flow 
with the music on the fast stuff. 
I would still recommend it 
though, especially to those who 
live and die by the X. (RC) 
(Commitment, Klein Muiden 

38, 1393 RL Nigtevecht, 

THE PORK DUKES - "All the Filth" LP 

This contains anumber of tracks from each of the PORK 
DUKES' three "7s and two LPs, along with a couple of 
previously unreleased cuts. If you know (and love) THE 
PORK DUKES and don't have these records, this is a must 
buy for you. If you do not know THE PORK DUKES, all you 
really need to know is that they were the best (and probably 
the first) punk band to do the "obscene punk" thang. They 
had a knack for combining melodic, almost happy, punk rock 
music with lyrics that were both offensive and amusing. 
"Makin" bacon is on my mind, turn 'round baby, let me take 
you from behind." How can you not love it? (KK) 
(Vinyl Japan, Hamada Bldg. IF, 4-7, 7-Chome. Nishi-Shin- 
juku. Shinjuku ku, Tokyo, JAPAN) 

Kids Are All Fucked" EP 

Fun loving good time rock 
n roll with enough of a bite to 
keep me interested. These kids 
are from Sacramento, so they 
share the same water source as 
the YAH MOS and SEWER 
TROUT. Though that may be a 
bit misleading. Odd. catchy — 
they must listen to the 


($3: Moo La La. 1 1 14 21 St. Sacramento, CA 95814) 

THE PUBLIC - "Caged Con- 
science" EP 

Insanely fast grindcore 
with over the top drumming 
and brutally coarse vocals. This 
just drips with rage. And the 
rawness and simple structures 
of the songs only builds on its 
power. Bottom line, it fucking 
ruled! (RC) 

(Taste Of Blood, Patrick Duri- 
sin, Parcovska 92, 075 01 Trebisov, SLOVKIA) 

QUYD - "Blame" CD 

Way, way over in the melody school of hardcore. An 
updated version of the rather limp post "New Wind" 7 
SECONDS LPs, but with much more groove. At times this 
moves with direction, and while not nearly as spaced out as 
HOT WATER MUSIC, sometimes has the saccharine emo- 
tional feel of that band. (TH) 

(Freecore. Zum Scherenberg 4A, 37 1 86 GroBenrode. GER- 

RAJOITUS - "Systeemiin 
Naulittu" EP 

Glad to see these guys are 

still going their prior EP and 

mini LP of a couple years back 
were awesome. Straightfor- 
ward, no bullshit, Swedish 
thrash a la the classics (AVS- 
KUM, MOB 47...). If you're a 
fan of Scandinavian thrash, get 
this. (MW) 

(Ugly Pop, 2 Bloor St. West, Suite 100 Box 477. Toronto. 




As the band name indicates (and as the little red slicker 
on the cover promises), this is supposed to be instrumental 
versions of RAMONES songs played in a VENTURES- 
style. Let's dissect this just a little bit... OK, they are definite- 
ly covering RAMONES songs. And they are definitely 
instrumentals, even surf instrumentals. I don't know that I 
can get behind the VENTURES promise, however. Honestly 
it seems a little too cheesy to be called VENTURES-Iike. I 
would call it lounge-influenced RAMONES cover surf in- 
strumentals. If you don't want to buy this, at least go down 
to your local record store so you can get a glimpse of the tits 
of the chick on the back cover. My god, they're huge. I 
wonder if they're real? (KK) 

(Blood Red Vinyl & Discs, 2134 NE 25th. Portland, OR 

"Fuck You" EP 

This is by-far 

release so far. Some of their 
earlier stuff has been hit and 
miss, but this is full throttle 
grindcore. The recording, while 
not the best, reminds me of old 
HELLNATION. and the music 
does as well. This is a must for 
grind fans. Another fine release from... (MW) 
(Blurred c/o Manabu Isobe, 482-1 Naka, Kambara. Ihara, 
Shizuoka. 421-3213, JAPAN) 

RF7 - "God Forbid" CD 

All these years and RF7 are still putting out records on 
Smoke Seven! Chunky punk rock from these vets that 
would've been hardcore in 1982 but is just Cali-clubland 
punk today. The lyrics rhyme, you hear the breaks coming 
four bars before they arrive, you get the picture. The most 
notable accomplishment is adecently loud guitar sound. ..long- 
running bands tend to wimp out in this department for some 
reason. MOTORHEAD excepted, "course. (RW) 
(Smoke Seven, 1464 Madera Rd, Simi Valley, CA 93065) 

RIPPERS - "Xafacaps!" EP 

Post-SOCIAL D hard- 
drinking angst-riding band, still 
plenty upset, just older. More 
self-destruction, less smashing 
the state. The slow heaviness 
and compelling vocals remind 
"Peking Spring." Sorta sad, 
grown-up punk rock, but it's 
kicking. Very good, I say. (AC) 
(Ripper, PO Box 1 1. 43720 L'Arboc, (Tarragona) SPAIN) 

ROAD RAGE - "Painless Sui- 
cide" EP 

Jeezz. Fast, noisy, and cha- 
otic stuff here. Not thrash, mind 
you, just really loud, especially 
the guitars. Actually this is pret- 
ty catchy in spite of it all, sort of 
like the BATTALION OF 
SAINTS' old material. Worth 
checking out. (RM) 
(Weird, 61 London Road, 
Balderton, Newark, Notts, NG24 3 AG, UK) 


N G ff A M K N ° '■'■ s 


These two bands feature 
the sound that many good ga- 
rage-type punk bands this de- 
cade have developed, which is 
akin to early '80s hardcore in 
vocals and guitar, but contem- 
porary in the lyrics (I'm excus- 
ing the '60s obsessives here, of 
course). Both these bands aren't 
afraid of slowing the tempo down; salutations for not filling 
the "void" with wah-wah solo-bore! Points off for failing to 
write super calchy songs or developing an irresistible groove. 
More points off for saying how much they love the "rock". 
Let's leave the hiding- behind-the-rawk-hype shit to the 
Swedes, shall we? That said, I'm still gonna listen to both 
these bands if they put out more records. I hear MUD- 
HONEY and MONOSHOCK influences, even if these guys 
hate/haven't heard of either of 'em. (RW) 
($3 ppd: Molasses Manifesto, 505 32nd St. #107 PMB 190, 
Bellingham. WA, 98335) 


THE SATELLITERS - " What's Up With Timothy Dee?" 

Well there are a gazillion bands who've fallen prey to 
this schtick...and here's the 1999 German version of 1966 r 
n' b garage. With vintage Farfisa/Vox gear, formulated 
rhythms mixed with plasticky, novelty-tie image, this wanna 
be wax flickers with 100th generation PRETTY THINGS 
inspiration. Still, I'd much prefer the sound of this thing 
crackin' up against the wall... (DL) 

(Screaming Apple, Dustermichstr 14. 50939 Koln GERMA- 

SET UP - "The Short Album" CD 

Ahh, "The Short Album". ..thank Christ for small fa- 
vors, because this sucks major schlong....I'm talkin' horse 
cock here. Really, this new Japanese disc amply soused in 
masturbatory metal-dull guitar riffage bottoms out immedi- 
ately with 8 go nowhere tracks. Yes, some folks should not 
make music. Hear that? The hollowed transexual-like vocals 
skim over the top like a living nightmare. ..what else do you 
need to know? (DL) 

(MCR Company, 157 Kamiagu Maizuru, Kyoto 624 JA- 

7-10 SPLIT - "Trial by Stone" CD 

There was a cross on the cover and Bible verses inside, 
so obviously I thought this would be a metal album. Nope. 
It's Christian. Now I see why they get made fun of so much. 
I always try to stand up for Christian punks because I mean 
to go to church but never wake up on time, but this is just 
weird. I have never heard so many songs about Jesus. The 
music itself isn't bad, but it's all about God. Like the song 
•'Grind Core Kid" starts off as this pop-punk satire of a grind- 
core kid and then it goes into this grind that's all about God. 
It's just weird. So if you're a Jesus freak, buy this, the music's 
good and it's talks about God a lot. If you're anti-Christian, 
like most punks I know, or from a staid religion like Luthe- 
ranism like me (we don't tell people about God, we tell them 
about Lake Wobegone), this will just freak you out. I last 
listened to this three days ago and it's still creeping me out. 
It's the first Jesus punk I've actually heard. Fifteen songs 
about God. Oy vey. (BC) 
(Screaming Giant, PO Box 101, Dana Point. CA 92629) 


Unreleased material from 1960. Super lo-fi (read shitty 
recording quality) and very CHUCK BERRY. (DP) 

SHIT-FACED - "Fight for 
Your Purpose" EP 

Japanese '77 street punk! 
This kicks ass ! I didn ' t know there 
was such a thing, but I want to 
hear a lot more of it. The lyrics 
are kind of hard to understand, 
but they're pretty good, such as 
"I'd never give in society / Just 
fuckin' dirty for me." These guys 
could wipe the floor with 
BLANKS 77, and they don't need sexist lyrics or cover art 
to prove it. Buy this now! (BC) 

(Pogo 77, 1-10 1-1. Rokukoudai Matsudo-Shi, Chiba-Ken 

SMACKING ISAIAH - "The Way To A Girl's Heart Is 
Through Her Boyfriend's Stomach" CD 

It's nice to hear some punk rock being played just for 
the obvious love of it. A lot of the usual suspects come to 
mind when I play this: CRIMPSHRINE. RANCID, 
HOT WATER MUSIC, but they do it in a way that isn't 
quite derivative. There's plenty of energy and some catchy 
choruses. I won't bring the adolescent graphics into this, 
because it sounds better than it looks. I'd recommend it. 
(Tank, PO Box 40009, New Bedford, MA 02744) 

SMOGTOWN - "Beach City Butchers" 10" 

If you've never heard of this band before, do yourself 
a favor and buy every current and future SMOGTOWN 
release, for they are one of the best punk rock bands today. 
Sure, plenty of us (myself included) think that ten-inch 
records suck, but the songs here fuckin' rip! "Bad Vibra- 
tions" and "Two Stroke" are two of the best tunes I" ve heard 
this year. Now buy! (NF) 
(Deadbeat, PO Box 283. Los Angeles, CA 90078) 

SOCIAL INFESTATION - "Lasciate Ogni Seperanza" 

I'd never heard of SOCIAL INFESTATION before 
listening to this record. I guess that's my loss. This record 
shows a definite BUZZOV»EN influence, and after listening 
to this 10". I'll definitely keep an eye out for this band when 
they tour next. SOCIAL INFESTATION is one band that 
doesn't suffer with the longer formal a 10" offers. (JV) 
(Goatlord, PO Box 14230, Atlanta. GA 30324-1230) 



"The Gospel According To 
John/Mysterious Ways" 45 

I usually hate two- 
man bands, or bands without bass 

players but this is good 

"Mysterious Ways" is to say the 

least a pretty song long and 

pretty and moody. that an 

original?????? if so, 

jesus! ! ! ! ! ! [' m listening to 

the "A" side first thing I think of is a jazzy, sloppy version 

of "Run. Run. Run" by the VELVETS blooosy not as 

good as the "A" side, but still ah, the fade-out is 

good ! ! ! !• -this song gets an A- because the fade out is so 

good much better than the usual Estrus catalog, that be for 

sure (SW) 

(Estrus. PO Box 2125, Bellingham. WA 98227) 

'Has Sincerity Gone Out Of Style? 



Odd combination of cmo-style lyrics and wanking sped 
up like they want to be hardcore, Melodic sometimes, but 
mostly just confusing. Make up your minds, boys. (DP) 
(8164 Burkey Rd. NW, N. Canton, OH 44720) 


Both bands play politically-charged hardcore, with a 
healthy dose of quirky and technical stuff thrown in to break 
it up and keep it interesting. From more melodic parts to 
snippets of spoken word to totally thrashed-out sections, 
both sides are all over the place but still demonstrate a single 
minded determination to make the world a better place. 
Comes with a cool lyric booklet complete with explanations 
and elaborations. This is a great release. (AM) 
(9 Volt, PO Box 169. Edison, NJ 08818) 

SUBSTANDARD - "Consuming Need...Consumine 
Greed" EP 

Anger from the English Midlands (aah Nottingham. 
Punk Picnic '95, fucked up on speed and booze before 10 
AM. They were the days...) You may remember these guys 
from their great split with the NERVES a few years back. 
They've gotten faster and lost most of their metallic edge, 
and continue to write good pissed-off lyrics. This is a must 
for anyone who likes politically charged' powerful HCpunk. 
Like a faster CONFLICT... get the idea? (AD) 
(Inflammable Material. PO Box 2544. London. NW6 3DF 

BREAKERS - "Santa Claus 
Ain't Comin' This Year/Un- 
der The Christmas Tree" 

Yes!! Bring it thee fuck | 
on ! ! ! This exactly what I love; 
trashy rock 'n' roll. Period. No 
pop, not even that "punk", just 
load snotty rock 'n' roll. I love 
rock 'n' roll X-Mas tunes (they __ 
make me wanna fuck) and these two originals are just 
what I need to ring in the Holiday Season (I'm not wearing 
any boxers today). The title track reminds me of the early 
SONICS (minus the organ) and the b-side, "Under the 
Christmas Tree", has a more traditional '50s feel (but with 
a whole lot more cajone"s). I'm surprised they ("they" 
being the powers that be [i .e. Tom Hopkins] ) didn' t assign 
this to Shane or Kenny, their loss, I guess. (BM) 
(Norton, PO Box 646 Cooper Station, New York, NY 

THIRD FALL - "Pure Evil" CD 

This Quebec straightedge band seems to have been 
around for four or five years and a number of CDs. It 
shows in the fact that they are tight, but who really cares 
how tight you are when you sound too much like ME- 
TALLICA? Most of the time a little more melodic and 
poppy that most straightedge, or METALLICA for that 
matter. (PA) 
(More Romance) 

For Gold" EP 

Three words, Belgian 
straight-edge — can you imag- 
ine that? Dude, if I lived in 
Belgium I'd never leave the 
fucking bar! THUMBS 
DOWN play chunky, moshy 
(do we still say "mosh"?) and 
shouty positive hardcore — this 
reminds me of all those bands 
from late '80s New York that I used to listen to before I got 
really into heroin. They play the style pretty well but I'd 
have to give this a... that's right.. .a THUMBS DOWN. 
(Genet, PO Box 447, 9000Gent I, BELGIUM) 



Comes To Worse" EP 

Drawing of hoodies and 
fingers in the air on the cover, 
so go figure. Despite my initial 
apprehension, this is some 
rocking stuff. They do work 
the predictable angles, but the 
execution is there — solid pro- 
duction, shouted choruses, 
manic breaks and the songs are 
short, which is about the right length. I've always felt it 
better to be half a second short rather the curse of songs 
being too long. Lyrics aren't so predictable — the cliches 
are minimal, and they're somewhat cryptic, which is 
interesting in this genre. Quality stuff — bust a move on it 
now though — apparently limited to 500, no represses. 
(Corrupted Image, 739 Manor Street, Lancaster PA 17603) 

mageddon Comes This New 
Year's Eve, I Want To Spend 
It With You" EP 

This is a mighty fine 
month for Geek Rock USA™ 
and this peppy three-song, tear- 
| jerking, heart-warming, spirit 
lifting indie rock/power pop/ 
pop punk little diddy makes me wonder, if there is no Jan. 
1 St.. .then what the hell is the point of me typing this!?! It 
will never reach the masses in time! I must go now and 
wander like a Jehovah's Witness and spread the word door 
to door praising this and the many other fine Geek Rock 
bands and spread the word that Geek Rock USA is the 
way!! Repent! Repent!!. ..but if there is a Jan. 1st, then that 
means I'll get more records like this next month and 
maybe even track down a copy of this for myself, seeing 
as how they didn't send along a reviewer's copy. (BM) 
(Colossel Thumb, 103 W. Casablanca Ave #26, Clovis, 
NM 88101-0390) 

TRUNCHBULL - "Feeding | 
The Fire" EP 

It might be hard for you to ] 
figure out if you would be into 
this band. But not me, from I 
first glance I knew I would be 
in for a toe touch good time. 
Hell, they're from SWEDEN, 
they play small hall shows, the 
kids are pointing, the band is 
jumping and the music oozes the power of Youth Crew. 

(No Comply, Postfack 58 SE-1 16 74, Stockholm, SWE- 

TRY.FAIL.TRY - "We Deal 
In Lives" EP 

One thing the kids are 
going to have to realize is that 
dropping in some sorry excuse 
for music, emo breakdown is 
not OK. When the hardcore 
parts are blistering, don't fuck 
it up with emo breakdowns! 
This cover looks so emo, I was 

surprised that any of the parts were up to my hardcore 
standards, but with the first song I was sold until the little 
break in hardcore. Most of the hardcore parts here are 
interesting and solid. I just wish it all was. (TJ) 
(9 Volt, PO Box 169, Edison, NJ 08818) 

- "Choice Cuts" EP 

13 songs of raw demo 
quality fast and thrashy punk 
from Israel. This is nothing 
outstanding, but a solid docu- 
mentation of the slowly grow- 
ing Israel hardcore scene. RC) 
(Volkstaat. PO Box 647, Nes 
Tziona, 74101 ISRAEL) 



UK SUBS - "Left For Dead" CD 

Originally released on tape in 1986. this is a live 
recording of a show in Holland marking the 10th anni- 
versary of this British band. This is what we mean by 
'77-style punk. The recording quality is good, and this 
is a pretty good sampling of songs, but unless you're a 
hardcore fan or have no UK SUBS records at all, your 
money could be better spent elsewhere. (DP) 
(ROIR, 611 Broadway, Suite 411, New York, NY 

THE VARUKERS - "Live In Leeds 1984" LP 

Hands up, who used to have a mohawk? Me too. 
UK, fit in somewhere between the "leather, studs and 
acne" UK '82 and anarcho-punk camps. This live 
album comes from the end of the British golden era — 
after '84 it all went downhill. I was never a huge fan but 
they seemed a little smarter than most bands whose 
names adorned many a studded leather jacket. This is 
not bad — the sound quality is okay, and the track list 
includes all their hits, but I'm not sure how relevant a 
VARUKERS live record is as we head for the new 
millennium. (AD) 
(no address) 


Two bands that wear their influences on their 
sleeves. That in itself isn't good or bad. Fortunately 
the UNIFORM take music lessons by listening to Dez- 
era FLAG and the FUSES only bought "Pink Flag" and 
no other WIRE albums. There are moments of the first 
track by THE UNIFORM that really echo "Jealous 
Again" and "Damaged I". Kinda loose. Spot-like pro- 
duction keeps the atmosphere dense and brooding. Fun 
with a time limit. Actually, comes with a bonus CD of 
the entire album. (LH) 
(Morphius, PO Box 13474, Baltimore, MD 21203) 

Muss Gelegentlich In Blut Gebadet Werden" LP 

German hardcore, featuring tight jeans, teased 
hair, and the Teutonic answer to Pig Champion, sport- 
ing a mullet and a bandana. It's pretty fast and upbeat, 
with essentially the same fast drumbeat on every song, 
which gets a bit tedious, as does the echo effect on the 
vocals. This might be better if I could understand what 
he was saying, but*I doubt it. (AM) 
(Bad Taste. Volksener Str. 46, 3 1 8323 Springer, GER- 


THE VAMPIRES cover "Fire" by JIMI HEN- 
DRIX, who was awesome by the way, and well, it's 
nothing special. As for the HIDDEN CHARMS, they 
do a song that sounds like '60s garage rock, "Incense 
and Peppermints" and all that. Not sure if they were a 
band from back then or not, never the less it's a pretty 
average tune. (RM) 

VIOLENT AFFRAY - "Let's 'Av It!" EP 

This great band appears on GUNDOG'S label 
New Blood. VIOLENT AFFRAY play fast Oi! with 
intelligent lyrics. In "Smash the State". They sing: 
"Smash the law/Smash the state/Kill the government/ 
Don't hesitate/Black and white we must unite/We will 
crush them with our might/Poxy wine bars to big flash 
cars/ Our petrol bombs will burn your arse..." This 
excellent streetpunk band has top flight vocals with 
choruses and tight guitar, bass and drum mixture. 
Highly recommended! (BR) 
(New Blood, PO Box 52, Gravesend, DAI I 9ZL, UK) 




VULGAR PIGEONS ■ "Citric Snot" EP 

This will leave you flat and bleeding on the tracks 
as a locomotive of drums, out of control and ready to 
derail, blows you over while supporting a wall of 
guitars fueled by screeching vocals. This puts the "pow- 
er" in powerviolence. (TJ) 
(Nonsense, PO Box 381 143, Clinton TWP., MI 48038) 

VULTURE ISLAND - "Drunken Donuts" CD 

Spooky. A combo of a restrained JESUS LIZARD, 
dramatic post-hardcore like CRIMSON CURSE, and a 
super hollow recording. The music matches the band 
name perfectly. Some of the vocal delivery suggests 
they aren't nearly as serious as they are trying to come 
across. (TH) 
(1625 Roxburgh Ave, East Lansing, MI 48823-1951) 



This barely made it in for review, I'm sure, not 
being what many would consider strictly punk rock. 
Released earlier this year on CD on their own G-7 
Welcoming Committee label (and quickly became one 
of my favorite albums ever) it's found its way on to 
vinyl thanks to the nice people at Sub City. Featuring 
the guy with the nice voice who used to be in PROPA- 
"beautiful" in MRR?) music that shifts between indie/ 
pop/punk, folk, and even country. Heartfelt without 
being "emo", clever without being pretentious, these 
are songs-to-smash-the-state-to for the lost and bro- 
ken-hearted. Sick of all the fake lame crap out there and 
want something different? Instead of giving up hope I 
recommend you buy this record. (AD) 
(Sub City. PO Box 7495, Van Nuys, CA 91409-7495) 

THE WAILERS - "Scotch On The Rocks" EP 

man. I didn't dig the WAILERS too much some 

30 years later at the LAS VEGAS GRIND, but boy-oh- 
boy, the way they sounded bacjc in the good ol' 
day. ...what we got here is a four-song juke box EP from 

Norton sexy as all hell.... "Scotch On The Rocks", an 

early version of "Tall Cool One" boneyard 

material. ...and three more sultry tunes, unissued 1958 

demos good for the juke (if you're a rich kid) and 

good for the soul music our parents fucked to. ...just 

imagine your father slipping it to your mother while 

listening to this???!!! wow.... (SW) 



Wow, modern finger pointing hardcore from Po- 
land! Poland's 1 125 kick down 2 originals and a cover 
(of a Misfits song), of solid fast hardcore with really 
gruff vocals. Sweden's WITHIN REACH have a sim- 
ilar style to 1125, and they do a decent cover of 
"Lexicon Devil" by the Germs. Not bad! (RC) 
(Shing, Tomasz Goral, Konopnickiej, 13/36. 38-300 
Gorlice, POLAND) 

WAG PLATY ■ "Best Of Shits" CD 

Ok, this seems to be a collection of singles and 
unreleased stuff from Japan's WAG PLATY. Not sure 
where to start on this one. The words abrasive, noisy, 
whacked out hardcore come to mind. These guys were 
always kind of out there on the hardcore playing field 
and this is no exception. (RC) 

(Breeding, 10 Oyasou 2-14-7 Matsugaoka, Nakanoku, 
Tokyo, 165-0024 JAPAN) 

WOLFPACK - "Allday Hell" LP 

More from the bullet belt/spiky hair contingent. 
They've taken their cues well, as this has all the 
components in a proven formula — wall of noise gui- 
tars, minimal structure and relentless pace. I'm down — 
amazing that so few chords can have such an impact. 
Lyrics are politically based, though they maneuver 
around the cliches that often hinder bands in this genre. 
Top-notch stuff. (TM) 

(Farewell, c/o Micha Meyer, Uhlandplatz 9, 46 047 
Oberhausen, GERMANY) 


WONGS ■ "Reanimate My Baby" LP 

Ooh, these boys got it all. They are young and cute, 
they play cool guitars, and they fucking rock! Raunchy, 
energetic, fuzzy rock and roll typical of any band Greg 
Lowery would be in or put out. (DP) 
(RipOff, 581 Maple Avenue, San Bruno, CA 94066) 

"Wonk Monk Boogie" EP 

Such wonky little 
monkees...two of which are 
members of the TV KILL- 
ERS in their off-hours. 
Strangely, "Wonk Monk Bo- 
ogie" sounds like an outtake 
from Fresh Fruit for Rotting 
Vegetables with some grav- 
elly-voiced grebo gargling 
over the top of it all. "Hard Lovin' Man" and "I Wanna 
be Free" are more in the rough 'n' ready beerflab tuck 
V roll mode. Look into it if you're hellbent on collect- 
ing everything the TV KILLERS are remotely connect- 
ed with. (JH) 

(Mad Driver, Goti Luca, Via Broni 4, 10126 Torino, 

WRETCHED ONES -"We Don't Belong To Nobody" 

Great English in that title, eh?! Kinda fits, the 
WRETCHED ONES being a band who've always prided 
themselves on being simple, straightforward people. That 
might also apply to their style, as it's also simple and 
straightforward. Not a bad thing in their case, as they've 
always managed to inject enough catchiness into their 
songs that you're immediately picking up on them. Same 
deal here — 13 tracks of sirrfple, straightforward punk 
rock that actually rocks. I'm still excited every time they 
put out a new release, which is (unfortunately) rare 
nowadays. (TM) 
(Headache, PO Box 204, Midland Park, NJ 07432) 

WTZ • "Deutschpunk— Revoke" LP 

I could see a lot of people hating this, due to the 
almost cartoon-like guitar work on a couple of songs, but 
I think this is great. Low-fi pogo punk that sounds like the 
EJECTED with a bit of the KIDS thrown in the mix, and 
just a dash of art-damaged weirdness to bring it all home. 
This is a great record. (RM) 

(Plastic Bomb, Postfach 100205 47002, Duisburg, GER- 

WORTHLESS - "Nice Night" CD 

I listened to this like three times yesterday, and it left 
no lasting impression. Interpret as you may. Well I guess 
I was busy, because right now it sounds like decent 
melodic hardcore, a sound not distant from 
AMERICAN STEEL, which is fine by me. I like this, and 
while it's not the greatest record I' ve ever heard, it doesn't 
make me want to go on a murder spree. I think it' 11 be good 
car music. (BC) 
(9 Volt, PO Box 169, Edison, NJ 08818) 

THE ZEROS - "Right Now" LP 

They're LA's once very young, so-called "Mexican 
RAMONES", who unfortunately were able to put much 
more music to vinyl in the '90s than in their heyday of 
1977. I'm a bigger fan of his EL VEZ than of the work 
original member Robert Lopez has done with the '90s 
ZEROS, although it could be a lot worse. All the same 
vatos with all the same tricks, but they just don't write 
songs like, "Wild Weekend" or "Wimp" anymore. So, if 
you pick this record up, grab Bomp's Don't Push Me 
Around collection too, and at least you'll see what made 
them so damn cool in the first place. (RY) 
(Bomp, PO Box 71 12 Burbank, CA 91510) 



ZEROS - "You, Me, 

It's not really a reunion 
'cause they never really went 
away. ..the 1999 ZEROS don't 
sound terribly different from 
the 1978 ZEROS, 'cept maybe 
that they ' re more into the world- 
ly, self-questioning stance than 
the teenage spazz-out stance 
(compare and contrast "You, Me, Us" and their classic 
"Wild Weekend"). Naturally it's slicker and more profes- 
sional than the material they recorded when they were 
fifteen. ZEROS enthusiasts should also check out the 
current LP reviewed elsewhere in these pages. (JH) 
(Penniman, PO Box 32142, 08080 Barcelona, SPAIN) 


V/A - "Capitol Radio" CD 

This is a comp put together by WJFK in DC. When 
I lived in DC, WJFK was the Howard Stern station. Turns 
out it still is, but they do a punk show on Saturday night 
when there's no ratings to deal with. Since it's a very 
commercial station, I guess the purpose of this is to make 
money, not to support the underground scene. Previously 
released tracks by UK SUBS. HOT WATER MUSIC, 
SWINGIN' UTTERS, BLANKS 77, and more. If you 
like any of the bands on this album, buy their records, not 
this, and you'll hear the same songs, and more you'll 
actually like. Oh, I almost forgot to mention the exciting 
photo of Henry Rollins. Silly me. (BC) 
(Capitol Radio Records, PO Box 229, Arlington, VA 

V/A - "Apalhy=Self Destruction" EP 

This record goes fiom fucking great to just ordinary 
after one song on each side. TOMORROW rips shit up in 
Italian (they're from Japan), as has been the case with 
every record of theirs that I've heard so far. ISOLATION 
delivers devastating hardcore, with a skin-tingling back 
and forth female/male assault. The other two bands offer 
up what amounts to a cool down-time, and they are 

(FFT, Asahi Plaza Umeda, 704, 4-1 1, Tsumo-cho, Kita- 
Ku, 530-0014, Osaka, JAPAN) 

V/A - "Hit the Line Hard" 

After a completely idiotic |^j 
intro, this EP bursts into some 
surprisingly good youth crew 
hardcore. I'm afraid to say I 
wasn't familiar with any of 
these bands except REIN- 
FORCE, but I'm glad I was 
exposed to em, because they were all better than your 
typical '88 retro band. Included are UNTIL TODAY 
(which sound a lot like MOUTHPIECE), ONE WAY 
(sound like TURNING POINT). NO COMPLY, and RE- 
INFORCE (which by the way, don't really deliver on this 
one). Proof that there's hope for a solid youth crew com- 
pilation yet! (MW) 

(Commitment, Klein Muiden 38. 1393 RL Nigtevecht, 

V/A - "Benefit For Maloka" LP 

Maloka is an anarcho-punk collective, and according 
to the literature that accompanied this release, they book 
shows, have a distro of some sort, a vegan restaurant and 
alternative bar a couple of times a week, and publish a 
newspaper. Sounds good. It's a nicely packaged release. 
Some of the bands participating are: AB IRATO, CHAR- 
(Maloka c/o Yann. BP 536. 2 1 1 4 Dijon Cedex, FRANCE) 

V/A - "Homo Homini Lupus" EP 

A thrash compilation featuring eight bands from 
Germany. US, Finland, Scotland, and Sweden. The re- 
cording on a couple of the songs could have been a little 
better. Highlights are GOMORRHA with double vocals 
(one deep from the depths of hell plus screeching) and 
COMATOSE, delivering a raging and intense sound. 

(MacGy ver. c/o Nils Vosgrdne. Hoxfelder Weg 7 1 . 46325 
Borken, GERMANY) 



V/A - "Mera Rammel" LP 

This Swedish (?) bootleg (?) contains English titles, 
but lacks any English info, leaving me ignorant to any 
cause or reason for this comp. Some decent bands include 
the thrash metal-ish PLAST. POBELN, MISCONDUCT, 
ZLASKHINX, SVARSMALT) and alternative rock 
(NEW BREED) bands are also represented on this LP. A 
pretty 'good release if you can find it. (HM) 
(Annu mera Rammel, Peter Jandreus, Mornersg. 7B, 418 
75 Goteborg, SWEDEN) 

V/A - "Probe Records Presents— Death To False Metal 
Vol. 2" CD 

Wow! I kinda secretly liked the first one but, damn if 
this ain't just a tad better. My faves include: BULEMICS 
doing "Bathroom Wall" by FASTER PUSSYCAT, 
LOUDMOUTHS doing •'Turn It Loose" by TWISTED 
SISTER, WHISKEY SUNDAY doing "Rock V Roll" by 
MOTORHEAD. Few other marvelous standouts, but 
amazingly no total stinkers. Continue to show no shame, 
grebos, everyone's got a right to hesh and hesh as hard as 
they wanna. (RY) 
(Probe, PO Box 5068 Pleasanton, CA 94566) 

V/A - "Public Service" CD 

This CD contains music" from 1981 by some once 
very good hardcore bands, such as BAD RELIGION, 
The sound is definitely live in feel, although it's quite a bit 
cleaner than most live stuff I've heard. REDD KROSS 
really stands out, as does CIRCLE ONE. That said, every 
band turns in decent to good performances, and there are 
a lot of them here. Pretty cool. (J V) 
(Smoke Seven. 1464 Madera Rd. N-397. Simi Valley , CA 

V/A - "Scene Killer Vol. 2" CD 

A strong street and punk comp. 30 bands in all, 
including the DROPKICK MURPHYS' cover of "No- 
body's Hero" as well as BONE CRUSHER. ANTI- 
and many lesser known bands. Heavily Roehrs-en- 
dorsed, a very punk rocking release. (RL) 
(Outsider, PO Box 92708, Long Beach, CA 90809) 

V/A - "Raging Hard Core Shot" CD 

Damn. I'm sold on this just for the artwork. Awe- 
some stuff. Then to toss it on, and just have things get 
better and better. Current day Japanese hardcore leg- 
contribute to this one. I was floored by the quality — it's 
not the typical "toss something their way" comp — no 
duds, no disposable material. Really liked the NO SIDE 
and TOTAL FURY tracks— had some of the charac- 
teristics of the classic early eighties "D.C." hardcore 
sound that kills me still. Essential listening for anyone 
wanting a snapshot of amazing current Japanese hard- 
core scene. (TM) 

(Mangrove Label, ACP Bldg 3F B, 4-23-5 Koenji- 
Minami, Suginami-Ku, Tokyo 166-0003, JAPAN) 

V/A - "Sorted!" EP 

Four Songs, four bands. SANDIEST starts off 
with "Rip Off," a power pop song. RUST follows with 
"Shameless Thieves," a 77 song. Both are good. The fa- 
side gives us CLAMPDOWN with "Always Punk" a 
chanty 77 song. That's followed by ALLEGIANCE 
with "Outlaws," which begins with a cool baseline and 
turns into hardcore, and is the best song on here, in my 
humble opinion. I think this is Japanese, which would 
explain why I can't understand the lyrics very well. 
These bands are all good at what they do, and I enjoyed 
listening to it, but I' m not going to run out to buy a copy 
of my own. There's no address on it anywhere, so I 
guess I can't. (BC) 
(no address) 

V/A - "Suburban Voice Presents: Dangerously Un- 
stable" CD 

This compilation is free with any purchase of 
Suburban Voice #43! I really don't see how you can 
pass this up. It contains a lot of decent live cuts from 
bands like ECONOCHRIST and the SUBHUMANS, 
and even a terrible one — sound wise — by THE 
FREEZE. These comps are always better than most, 
and you can credit zine editor Al Quint's taste for that. 
Some other bands that appear are the NEIGHBORS, 
(Suburban Voice, PO Box 2746, Lynn, MA 01903) 


V/A - "Teenage Treats Vol. 6" LP 

Even more pop (much of the power variety as well 
as some of the powerless variety) than previous vol- 
umes (none of the shamblistic ineptitude that cropped 
up on Vol. 5; nope, these fellas all sound as though they 
were aspiring pros. The STEROID KIDDIES - "Acci- 
dents" is the most straightforward rocker here, and also 
bears a resemblance to the DEL-VETTS "Last Time 
Around." Power pop folks should be all over this, 
(no address) 

V/A - "This Is The Life Vol. 4" CD 

What the hell do expect from MCR, especially 
from their This is the Life series? As always, this is a 
great introduction to some known, and not so known, 
Japanese hardcore bands. All styles are covered, from 
the ferocious EXCLAIM (one of the best now-a-days), 
to the metallic hardcore of NINE CURVE. Others 
include HUMAN DESPAIR (great traditional-style Jap- 
anese hardcore), SCARECROW and GROWL. 15 
bands, 27 songs, worth every penny. (MW) 
(MCR, 157 Kamiagu Maizu'ru Kyoto, 624-0913, JA- 

V/A - "Teenage Treats: Rare Punk Rock Vol. 7" LP 

Yep, the shoddily-made, poorly detailed scum boots 
continue. This one seems especially despicable, despite 
the obviously good intentions. Poorly-xeroxed cover 
with a pic of Sid Vicious or somebody equally useless. 
The entire back cover is taken up by record sleeve and 
actual vinyl photo shots. This is mostly bands from the 
UK and Europe doing fairly generic punk/new wave 
rock. For your perusal I will list a few: DALEKS, 
Fuck, the NEWS tunes even has synthesizers (!) and 
sounds like BRUCE WOOLEY 

& the CAMERA CLUB . Despite acouple of good things 
(form the BUZZ and DA BIZ) the tunes here are pretty 
much a yawner. Save your bucks. (JY) 
(no address) 

V/A - "A Tribute To 10 Years Destroika Punk" CD 

A tribute to the band BREZHNEV from Holland. 
I'll be honest, I'm not too familiar with the band, so I 
will say that there are some great hardcore bands one 
here rockin' the place. BAMBIX make are always 
fantastic. Great stuff as well from NRA (a live track), 
SMUT, JILLFRISKY (a great version of "North Amer- 
ica Sucks'"). FUNERAL ORATION and more. Not all 
(Vitaminepillen, Lambertusstrasse 20, D-52538 Self- 
kant-Hoengen, NETHERLANDS) 

V/A - "That Which Does Not Kill You..." CD 

Three bands from Connecticut on one disc. BRO- 
KEN play cool tough East Coast hardcore reminiscent 
of YUPPICIDE. I like their lyrics which attack every- 
thing from Woodstock ("Rapestock '99") to the Park- 
ing Authority in their hometown. They also do a good 
JERRY'S KIDS cover("Uncontrollable".) REACTplay 
it a little faster and more chaotic, male/female vocals a 
la PINK TURDS IN SPACE or a rougher, less grindy 
NAUSEA. BOILING MAN have the screechy sore- 
throat duel vocal thing going on, and are more metally 
and chunky than the other two bands. This is a nice look 
into the scene in this particular part of the world. If it 
came down to it, I'd have to say that BROKEN come out 
tops in this three-way scrap, but all three bands turn in 
solid performances. (AD) 
(Elevator Music, PO Box 1 502, New Haven. CT 065 1 1 ) 

V/A - "Turkey Time" Video 

This follows the standard video comp format, a 
song each from five or six bands, then wacky hi-jinks 
of the cameraman's pals, then back to another five or 
six bands. While the list of the 45 bands had me excited 
about the video, the quality of the filming is terrible. 
Most of this video tape is the back of somebody's head 
with a crappy background sound of the band playing. 
When filming or photographing a band, if the person 
isn't on stage or in the front row. they're wasting their 
time. A few bands were captured well, 

and DETESTATION. The highlight of the video was a 
fellow shitting on his friend's face that was covered in 
plastic wrap. (TH) 
($6: No!. PO Box 14088, Berkeley, CA 94712) 



L&LY siJeof 
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souls <fCpLiH>rh\a DiVlvo 


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New on Snuffy Smiles. A new collection tor Japan of 21 J 

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$9 world 


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Hey did you order the "Ecstacy Of Communicalion" CD a 
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compensate you in some way (stuff or refund) 


I'M NOT DYING (lor better or for worse) 
As many of you know the mailorderand J Church activity 
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hospital with major heart problems. Almost died Didn't die. 
Was broke Now selling most ol my life away on E-bay 

Mailorder should be back to normal. 


New records... 

Next up is a singles collection by one of my favorite 

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Fanzine Reviews 


Reviews by: (AR) Aragorn, (LB) Lily Boe, (BC) Brianna Chesser, (KC) 
Karoline Collins, (JO Jeremy Cool, (MD) Mikel Delgado, (RD) Raphael 
DiDonato, (NF) Neale Fishback, (GF) Gardner Fusuhara, (HH) Harald 
Hartmann, (M J) Mary Jane, (KC) Karoline Collins, (AM) Allan McNaugh- 
ton, (JM) Jeff Mason, (JL) Jennifer L. Mushnick, (MN) Mitni Nguyen, 
(CR) Casey Ress. (PS) Denise Scilingo, (SS) Sean Sullivan. 

Please send your zine in for review. Write down any 
information you want included in the review; method of 
printing, number of pages, issue number and post paid 
price. If you want us to include a foreign post paid 
price, tell us. If you accept trades, tell us. The only 
information we will include is what you provide us. It's 
very simple. h.,i c».i *.,,«..! i„ „,« ik. ,.,... n« „ „,j 
Specific criticisms aside, it should be understood that 
any independent release deserves credit for all the time 
and money going into it. 


5 1/2x41/4- copied - 48 pgs 
This is one of the better fanzines I've 
seen in a while. Well-written and inter- 
esting. This issue is a story revolving 
around the writer's efforts to wean 
himself off of sucking his thumb. Unlike 
many other similar fanzines. Adita 
doesn't attempt to place a significance 
on the story that doesn't exist. It's not 
overly self absorbed or whiny, like too 
many "personal" zines tend to be. 
Cool layout and picture too. Good style: 
when this one comes in your mail, it'll 
make your day. (CR) 
1 00 Hillcrest Hall / Iowa City. IA 52242- 



8 1/2x11 - offset - 1 6 pgs 
Pointless interviews with Link 80, The 
Living End, Mustard Plug and Catch 
22... who the hell cares how many times 
a week Mustard Plug goes to Mc- 
Donald's?!!! The only thing I liked about 
this was the article on school uniforms, 

POBox 71283 / New Orleans, LA 


stamps (or trade) 
5 1/2x4 1/4 -copied- 16 pgs 
This is a package deal: a mini-zine. 
scads of inserts, and three full-size 
flyers (ie, a lot of loose paper). One 
insert seemed to be a stream-of-con- 
sciousness rant about anger and 
pain. ..capped by a show review. An- 
other includes an ode to Hunter Th- 
ompson and the right to bear arms 
(hardly brilliant) and the flyers are pret- 
ty standard (and recirculated) stuff, 
anti-McDonalds and anti-vivisection. 

The mini-zine consists of some very short 
rants about fur, feminism, the govern- 

ment, a comic about making change, and 
some uninteresting fiction. Alice also runs 
a distro for political propaganda (zines, 
buttons, stickers, flyers, and more). Sin- 
cere (all "profits" go to the local Food 
Not Bombs) but simple. (MN) 
1 022 Robert E Lee Dr / Wilmington, NC 

GELS COMIK) #4 / $8 

8 1/2x11 - offset - 68 pgs 

For those of you drawn to the darkside, 

this is your comic. Full of spiky haired 

gothic folks and death, death and more 
death. But even though it's goth, this 
comic has a sense of humor. The first 
part of this comic is chapters 5 and 6 of 
the ongoing story of a band who hap- 
pen to be vampires. The middle part of 
the comic contains short bios of Aus- 
tralian comic book artists and samples 
of their work. The rest of the comic/ 
zine is made up of other people's work 
which varies in quality. I had a hard time 
putting this down and I am interested 
to see more chapters of this band. Is 
this worth $8? Sure, if you are interest- 
ed in indie comics of Australia or you 
have dark leanings, go for it. (DS) 
Louise Graber / PO Box 84 / Glebe, 
New South Wales 2037 Australia 

BLOO DYDE BLUD / $5 trade 
8 x 6 - copied - 24 pgs 
A small comic book that uses Lady Di 
as a theme that seems to ridicule her 
life and death. Because I am not inter- 
ested in royalty, or the rich and famous 
I'd never give something like this a 
second glance. As for the drawing 
style, nothing exceptional. (HH) 
Tim Danko / POB 348 / Flemington, 
Victoria/ 3031 Australia 



5 1/2x8 1/2 -copied -24 pgs 
Complete with stories about punk love, 
drinking and friendships, this is kind of 
like Cometbus little sister. The writing 
is good and the stories are fairly inter- 
esting, but I'd be much more interest- 
ed to see them written in a unique style 
that didn't borrow so heavily from an 
already overused style. (CR) 
1 7229 SW Greengate Dr / Sherwood, 
OR 97140 

BROADSIDE #6 / 1 stamp 
7x81/2- copied - 8 pgs 
This is a really brief and mediocre zine 
covering the Detroit area punk and 
garage scene. Besides the news sec- 
tion, there are also write ups on The 
Demolition Doll Rods and Junior Brown . 
Overall it's not very good. (NF) 
47735 Fernwood #1 5209 / Wixom. 
Ml 48393 

CHUMPIRE #123 / 1 stamp or 

8 1/2x11 - copied - one page 
This is awesome! Just a one page 
(double sided) quickie chock full of 
the author's favorite stuff.. .music, a 
movie, zines, upcoming shows in the 
area, a great little overview of the 
book The Emperors of Chocolate 
(the history of Hershey's and Mars) 
and best of all is that it's totally 
steeped in Pennsylvania flavor. That 
might sound a little weird, but you 
can just tell that this person totally 
enjoys their scene (which happens 
to be in PA). Anybody remember the 
one page zine called Radio Riot? 
This kinda reminds me of that. . .write 
for your copy today! (KC) 
PO Box 680 / Conneaut Lake, PA 


5 1/2x81/2- copied - 48 pgs. 
A great slice of life of activism and 
grassroots work in the Richmond area. 
Actually gives you hope for a place that 
seems like a factory of jaded punk- 
rock. Generally this is the tale of what 
people of conscience do in their day to 
day lives. Light on the politics, heavy on 
the action itself. (AR) 
PO Box 5021 / Richmond, VA 23220 

DEAD CITY #5 / $1 or trade 
5 1/2 x 8 1/2 - copied - 20 pgs 
didn't think I was going to be able to read 
this - the layout is pretty dull, and it's all 
small typewriting with a lot of mistakes. 
Once I started reading it though, I have 
to say that it was all right. It's lots of short 
semi-fictionaK?) stories about punks who 
drink a lot, hang out, travel and fight. The 
writer has a good descriptive, personal 
style. It's kinda like Cometbus for crust- 
ies. (MD) 

8391 Brookwood Dr NE / Warren, OH / 

59? #25 / $3 

8 1/2x11- copied - 1 6 pgs 
Now this is pretty damned funny -it's got 
coverage of the Burning Man festival, a 
foldout poster of King Diamond, stories 
and (ugh) poetry. Allison sure is an angry 
young girl, and that makes for an enter- 
taining read. I'm not sure if it's worth $3. 
but it's fun and well written. (RD) 
PO Box 19806 / Seattle. WA 98109 


8 1/2x11 - offset - 1 80 pgs 

It has been a while since I read an issue 

of Flipside, so I was pleased I got it to 

^Fanzine Reviews"U i 

review. It seems the same; larger, some 
color pages and tiny print. This issue 
includes interviews with: Hot Water Mu- 
sic, At the Drive In and Suburban Voice. 
Flipside always has tons of record re- 
views and it looks like their zine reviews 
are growing. (DS) 
PO Box 60790 / Pasadena, CA 94146 

GARAGELAND # 1/ $1 and 2 


8 1/2x11 -copied - 34 pgs 

The first cool thing that I noticed about 

this zine was that they chose Schlitz as 

the Beer of the Month . Wow! Anyhow, 

this is a really good first effort. The 

highlights here are the interviews with 

Deadbolt, Gearhead and John Doe (of 

the worse of the two bands named X). 

Overall, a good zine. (NF) 

1219 Mckinley Ave / Huntsville AL 



5 1/2x81/2- copied - 1 6 pgs 
Cute little comics straight out of the 
sketchbook. There's a longer piece 
about a train'ride and a recurring theme 
of sad romance. Neat enough but not 
worth three bucks. (JM) 
PO Box 1 1 1 Fitzroy North / Victoria 
3068 / Australia 

GO METRIC #1 1 / 55C stamp 
7x81/2- copied - 28 pages 
Go Metric is a music based zine from 
New York. No fancy layouts here, just 
some stuff on Oueen and the Kinks, an 
interview with the Groovie Ghoulies 
and a great article on how all sXe 
kids really want to be Scottish, 
among other stuff. Kinda sarcas- 
tic, with lots of reviews. It reminds 
me of those people who are kinda 
music purists, who have a real love 
of the "rock".(MJ) 
PO Box 250878 / New York. NY 

GRUB #1 / stamps or trade 
7x8 1 /2 - copied - 8 pgs 
Simple little punk zine revolving 
around food, not to be mistaken 
for the GRUB z\ne from Rhode 
Island. There's a recipe for stew 
and some frozen pizza reviews. 
Fun read, but not too much sub- 
stance. (MD) 

POBox 1471 / Iowa City, IA / 

HIT LIST #5 / $3 95 

11x8- offset - 1 92 pgs 
More ink from those ex-MRR hip- 
sters, this issue built around an 
interview with Joe Strummer. There 
are lots of cool record reviews and 
Jeff Bale gives an excellent in-depth 
review of the English freakbeat CDs 
out on AIP. As usual there is a column 
of stupidity (not sexist this issue) from 
Rev. Norb, and a pseudo-intellectual 
column of self back-patting from mil- 
lionaire entrepreneur Lawrence Liver- 
more. Real punks probably won't buy 

this zine, unless they were bored, or 
starved for the scene. I read it for the 
record reviews and the political stupid- 
ity of my generation. (HH) 
PO Box 8345 / Berkeley. CA 94707 

HO! #4 / $5 

8 1/2x7- offset - 92 pgs 
This is a pretty cool zine. It has mostly 
comics by different contributors, all of 
whom are quite talented. There's also 
fast food reviews, and an interview 
with the Bindlestiff Family Circus, which 
I've never heard of but it sounds pretty 
cool, though it never said why it's por- 
nographic or why it's named after Swed- 
ish loggers. My favorite comics, al- 
though all were good, and there's much 
to be said for that, were "The Tragedy 
of Dr. Promise and the Origin of the 
Fatterpekis" by Nora Keyes. "The Un- 
derwear Club" by Marcel DeJure, 
"Motherfuckers" by Sean Stepenoff, 
and "A History of the World" by Charles 
Schnieder. (BO 

No (Know) Information Netwerk / PO 
Box 29 1 5 1 6 / Los Angeles , CA 90029 

HOMESICK # 1 / $4 

5x8 1/2 -copied- 20 pgs 
The artwork in this li'l comic zine is 
really good. However, I wouldn't pay 
four bones for this because... well it's 
pretty damn boring. The story line is 
pretty lame here and that makes it not 
worth shelling out yer dough, (NF) 
PO Box 1 297 / North Fitzrroy Victoria. 

I AM RIGHT #1 /$3 

8 1/2x11 - offset - 64 pgs 
This zine is pretty huge and packed with 
material. A lot of it is stuff I usually am not 
interested in but enjoyed quite a bit here. 
Musically there's talks with 
the Dictators, the Seeds. 
Antiseen, Lightening Beat 
Man, Greg Lowery, a Jack 
Saints tour diary, and more. 
There's some interesting 
wrestling stuff (including the 
murder of Bruiser Brody) and 
some classic/cult horror 
movie stuff. There's an in- 
terview with a white sepa- 
ratist guy asking him about 
good racist bands and a bit 
about his ideology, which the 
editor makes clear he does 
not share. It bothers me to 
see any tolerance for com- 
mitted racists... Overall, 
though, this zine is very well 
done and worth the three 
bucks. (JM) 

1866 McAllister St / San 
Francisco, CA 941 1 5 



5 1/2x81/2- copied - 64 


This zine has a huge staff considering 
that 1 1 out of 1 2 articles were written by 
the egomaniacal Jeff Somers. At least 
they were well-written. I don't think apa- 
thy should be worn as a badge of honor, 
though, and apathy is entirely different 
from cynicism, which Somers seems un- 
aware of. Even Diogenes took action, 
and his actions, such as sleeping in a 
barrel and shitting, sleeping, and mastur- 
bating in public effected change of some 
sort in Athens. Having contempt for and 
suspicion of human beings doesn't mean 
having an inability to change their ac- 
tions. But that would be me. The made-up 
letters to the editor were distinctly unfun- 
ny, the interview with the super-hero the 
Pork Avenger was funny but could have 
been more tightly edited, and the ac- 
count of a diary of the janitor locked in the 
sensory deprivation tank didn't come 
across as the biting satire it was meant to 
be. Basically, I think this would be a really 
good 40-page zine, if the sophomoric 
humor is what got cut. The short story at 
the end. "Can Open Worms Everywhere" 
was surprisingly good. It was by far the 
best part of the zine. and proved that 
considerable talent lay behind it. This has 
the potential to become a very good zine, 
but it's not quite there. (BC) 
293 Griffith Street #9 / Jersey City, NJ 

Jfanzine ReviewsT » 

IT'S ALIVE #1 8 / $2 US, $4 world 
8 1/2x11 - offset - 56 pgs 
It s Alive is pictures of boys in bands 
and flyer collages; a ton of both. The 
photos look great - mostly newer hard- 
core bands but a few older ones, I think 
- and the flyers show how many amaz- 
ing shows have come through So. 
California in the past 1 5(?) years. For 
what it is, it can't be beat. (JM) 
PO Box 6326 / Oxnard, CA 93031- 

FANATIC #1 /$5 

8 1/2x51/2- copied - 36 pgs 
I didn't think that I was going to like this 
comic zine hailing from Australia. With 
comic zines, either I really like them or 
they suck, the latter usually happening 
more often. This zine was funny, ac- 
cessible to people outside the author's 
lingo, nuanced, and pretty interesting. 
Some of it, I didn't quite get. but for the 
most part, expressed what lead the 
author to his earlier religious 
"fanaticism" and what deterred him 
from it. Overall, pretty okay. (JU 
0-Ray / PO Box 612 / South Mel- 
bourne, Victoria 3205 / Australia 


8 1/2x5 1/2 -copied -36 pgs 
I read the name of this 'zine and I knew 
that I was gonna love it... I was not 
disappointed. For those of you that 
enjoy really personal, heartfelt writ- 
ings, (like me) this is a must! Lots of the 
author's thoughts, hopes and dreams 
plus interviews with Force Fed Glass, 
Jeromes Dream and Bom Dead Icons. 
There's no price listed, but you could 
probably send a donation or some 
stamps.'s nice to keep reaching for 
the stars. (KC) 

21926 Hyannisport Dr / Cupertino, 


8 1/2x11 - copied - 28 pgs 
This zine revolves around punk/alter- 
na-rock music along with a smattering 
of personalish stuff. This issue fea- 
tures interviews with Face to Face, 
Fifteen, In Truth, and the Lawrence 
Arms. There are also run-downs on the 
Oblivion record release show, a local 
cafe (Cafe Jinx), record reviews from 
" famous talk radio personality" , Steve 
Dahl, an article about "unity", an arti- 
cle lamenting the loss of a tree in the 
author's parent's backyard, and a book 
review. While I was not especially enthu- 
siastic about the contents of this zine, 
it was very readable and well put to- 

gether. If you are interested in the 

bands or stuff mentioned, you might 

enjoy this zine. (JL) 

4031 Forest Ave /Western Springs, IL 


KEROSENE #9 / 20 FF 

81/2x11 1/2- offset - 60 pgs - French 

I used to help a kid put out a zine that 
looked like this — until I realized his 
ambition was to continually grow fatter 
and glossier, and most importantly, to 
get the most, and most popular, bands 
interviewed. I don't claim to know the 
Kerosene motives, but I know they had 
better find some personality, quick. 
Other than those ominous warnings, 
be advised this is a nice-looking zine 
with Unwound, Blonde Redhead, re- 
views, and much, much more. (AC) 
BP3701 / 54097 Nancy Cedex/ France 

KEROZEN # 1999/31 

I I x 8 - offset - 32 pgs - French 
Interesting DIY zine and record label 
from Canada, this issue focusing on 
the bands Gros Mene, Subumlauts 
and Mass Hysteria. There are also 
some record reviews and ads. Proba- 
bly a good place to connect with the 
current scene in Montreal. (HH) 
Martin / 3900 Park St / St-Hubert PQ 
/ J37 422 / Canada 


5 1/2 x 8 1/2 - copied - 32 pgs 
A wonderful ode to the editor's grand- 
mother and the Weakerthans. Com- 
ments on the Oka incident, punk and 
folk music, Reclaim the Streets and 
Police violence. The pull quotes are 
universally wonderful and pointed, the 
spirit is touching. (AR) 
Site #8, Comp 50, RR1 / Winlaw B.C. 
V0G 2J0. Canada 

ME NOT #1 / 50c. 2 stamps or trade 
8 1/2x51/2- copied - 20 pgs 
Writings about being stuck in the same 
ruts all the time. ..not knowing where 
life is taking you, but knowing that 
you'd probably rather walk, 'cuz you 
miss a lot of interesting things along 
the way when you're stuck in a car. I 
really liked the piece entitled 
Hobophobia... especially since a similar 
scenario was playing itself out on my 
bus ride. There's also a soda review 
and some negative bits on marriage 
and love. A good first effort. (KC) 
401 Colonial Dr #9 / Ipswich, MA 


8 1/2x11- offset - 80 pgs 

For some reason I thought these guys 

had been around for a long time, but it's 
only the eighth issue. Anyhoo, this is like 
three issues in one, due to there being so 
much shit to read. These guys sure do 
like their sex and booze. It's refreshing to 
have so much content for such a low 
price. I know this sounds like an infomer- 
cial. but this is great - in addition to 
columns and reviews, the coverage of 
the Metal Fest and interviews (with Dis- 
count and Digger), they talk about fuck- 
ing Iron Maiden! This is pretty damned 
funny, and well worth sending off for. 
PO Box 24277 / St. Louis, MO 63130 

HFanzine Reviews'! "* 


8 1/2x11 - copied - 46 pgs 
If you can't guess from the title, this zine 
is dedicated to the Damned and related 
offshoots, and contains more informa- 
tion than you might ever want to know 
about any one band. The biggest chunk 
of the zine is devoted to an in-depth 
interview with guitarist Brian James, but 
there's also a bunch of reviews, tour info, 
photos, and information on bands that 
cover Damned songs on their releases. I 
thought the Damned's first few records 
were great, but I'm not a rabid fan. How- 
ever, I love delving into the history of 
punk and so I still found a lot here to 
enjoy. If you are a big Damned fan, this is 
essential. (AM) 

PO Box 131471 / The Woodlands. TX 

NO LONGER BLIND #6 / $3 or trade 
8 1/4x11 1 /2 - copied - 38 pgs 
Thick, poorly stapled sXe zine out of 
Australia. It starts off with some pretty 
good columns, except for the one bag- 

ging on "middle class wiggers" and al 
the "retards" in the hardcore scene. 
There are long interviews with Stan- 
dard, Pitfall, and Fallout, plus shorter 
ones with Ensign, VDG Skulls, Cona- 
tion, and Not For You. The interviews 
aren't the best I've read, mostly cover- 
ing scene stuff. There are plenty of 
good looking photos of hardcore boys 
rocking out, an article about pornogra- 
phy being degrading to women, and 
the best ska column (a history of the 
music) I've ever read. No Longer Blind 
is a little cliched. but still a good read. 
To buy it in the US send your money to: 
3 1 5 E 8th St / Bloomington. IN 47401 . 

74 Gladstone Ave / Wollongong, NSW 
/ 2500 Australia 

NOSEDIVE #9 / $2 or trade 
7x81/2- copied - 48 pgs 
This is my kind of zine! It has a beautiful 
hand printed cover, has tons of great 
writing, and is put out by a genuinely 
nice person. It's a nice mix of personal 
and political. There are travel and living 
stories about California. Europe and 
Portland, a comic about hitchhiking, 
bicycle stories, an interview with a 
women's self -defense instructor, real- 
ly down to earth, honest book reviews, 
and some more informational - type 
pieces on the artist Elizabeth Catlett 
and on environmental threats to the 
cowbird. There's just lots and lots here, 
it's all interesting and has nice graph- 
ics, and I think you should order this 
zine NOW! (MD) 

PO Box 72581 / New Orleans. LA / 

OFF CYCLE #2 / free 
5 1/2 x 6 1/2 - copied - 24 pgs 
Boy, this guy wasn't joking when he 
called his mini-zine angry! This thing's 
chock full of suburban hostility — dis- 
turbed artwork, interviews with mean 
grind bands and seriously pissed off 
rants in the world's smallest possible 
typeset. The rants are pretty amusing, 
but my favorite parts were his movie 
reviews. He interviews Black Army 
Jacket. Benumb and Kung Fu Rick, 
none of which I found to be particularly 
fascinating, but it's probably just me. 
Fans of those bands will definitely want 
to pick this up. (RD) 
210 Woodcliff Ave.. Apt. 5F / North 
Bergen, NJ 07047 

OTTAWA / $3 

4 1/2x51/2- copied - 72 pgs 
This zine is filled with lots of emo-ish 
little stories about the good ol" days of 
'97, kids in the scene, coffee, set to 

clip art and blurry band photos. It also 
comes with a cassette tape of a few 
local bands. (MD) 

Chris Landry / 26 Assiniboine Dr / 
Nepean, Ontario / K2E 5R7 / Cana- 

OX FANZINE #36 / $5 

1 1 x 8 - offset - 1 40 pgs - German 
This issue comes with the CD sam- 
pler We Deliver The Goods. The 
bands featured are Hard-Ons. Schrot- 
tgrenze, Nomads, Moslem Heat, 
Pennywise, Mr. T.. plus lots more. 
There are also lots and lots of record 
reviews and ads. Plenty of reading 
here! (HH) 

POB 143445 / 45264 Essen / Ger- 


#10 /free 

8 1/2x11 offset - 6 pgs - Spanish 
This issue is in green ink, on white. 
This Mexican scene flier/mag in- 
cludes interviews with Multilacion, 
Trauma, and other local band/zine 
info. The editors cram a handful of 
columns in as well, so as you can 
imagine, it's a tight fit, but they do a fine 
job. (AC) 

MAValladares/Apartado Postal 1879 
/ 6400 Monterrey / Mexico 

PATCHOULI #666 / $1 
8 1/2x11 - copied - 24 pgs 
This really got on my nerves — taking a 
cue from its name, it launched into 
stories of mystical voyages in the 
mountains on mushrooms, getting 
stoned at Hempfest '99, etc. The 
worst part, though, was the faux- 
porn — I'm still not sure if it's serious 
or not. Everyone's entitled to some 
casual drug use and writing porn sto- 
ries CI think), but this is just terrible. 
There's an interview with William Gib- 
son, in case it matters. Damn hippies. 

608 NW 65th St Suite 200 / Seattle, 

POTATOE #5 / $2 or trade 
4 x 7 - copied - 40 pgs 
I guess I 've just been missing the boat 
on this one. Pretty damn good per- 
sonal zine with the perfect ratio of 
introspective walking alone at night 
stories to getting drunk and partying 
stories. I would recommend picking 
this up if reading about others peo- 
ple's fits of depression and wonder is 
your idea of a good time. CSS) 
PO Box 1891 / Fayetteville, AR 

PROBE #8 / $4 

8 1/2x11 - offset - 99 pgs 

Before I offer my opinion of this zine, I will 

talkabout the contents. This zine is packed 



with music related info, like interviews 
with the Bananas, an interview with Mis- 
sion Records, Howling Bull Syndicate, 
Radio Free Records, show reviews, zine 
reviews, music reviews, and book re- 
views. In addition, there are articles on 
sex and relationships by the author, an 
article by his girlfriend with a lot more 
information than I needed, and a Probe 

Probe what it is, lots of pictures of 
naked ladies. I am somewhere be- 
tween thinking that this zine is con- 
sciously and unapologetically absurd, 
and tacky, but enjoyable and informa- 
tive, and thinking that it is really creepy, 
twisted, exploitive, and that the au- 
thor is a bit of meathead. Decide for 
yourself. (JL) 
PO Box 5068 / Pleasanton, CA 94566 


5 1/2x8 1 /2 - copied - 36 pgs 
This comic marks the first installment 
in a tale of 'stupefying psychic in- 
trigue' and 'paranoid technophobia'. 
if the back page blurb is to be be- 
lieved. The artwork is^quite pleasant 
to the eye if not groundbreaking, but 
the story didn't particularly grab my 
interest. It's from Gregory Mackay, 
the creatorof 'Terminal', which means 
nothing to me but if it means anything 
to you you might be interested in this. 

Bandit Fox / 68 McKean St / North 
Fitzroy / Victoria 3068 / Australia 

Records update. This zine does not skimp 
on delivering information . And what makes 

QUICKDRAW #4 / $2 

5 1/2x81/2- copied - 20 pgs 
This is a short series of comic essays 
written/drawn by Aussie John Weeks. 
True to the title, all are drawn quickly, 
and many show the short time taken. I 
really liked them, and I have to respect 
anyone who teaches English to Cam- 
bodian immigrants. (BC) 
Plastic Planet / PO Box 2001 / Han- 
ford. CA 93232 or Dead Xerox Press 
/ PO Box 348 / Remington Victoria 
3031 Australia 

RAD PARTY #23 / $? 

6x4 1 /4 - offset - 64 pgs - French 
Stephane's high-contrast, realistic art 
attracts your eyes — and he uses his 
talent to draw things and people punk, 
instead of exploiting all knowledge of 
the human form to draw giant muscley 
super-villainess thighs. Rad Party's 
form and writing shows the same care- 
ful love. He only includes what he 
cares about, like two special inter- 
views with Cynthia Connolly and Evan 
Dorkin, insane creator of Milk & 
Cheese comic ("dairy products gone 
bad") and other brilliant humanitarian 
works. The music coverage is similar- 
ly bullshit-free, organized into a long 
column/essay in which Stephane dis- 
cusses recent releases and bands 
that he's been thinking about. Tiny 
ads by big labels are kept out of the 
way throughout. Great zine. (AC) 

Small Budget / BP #7 / 781 10 Le 

Vesinet / France 

^Fanzine reviews^ 



8 1/2x11- offset - 84 pgs 

This is a good music mag, with some 

other stuff, like fiction thrown in. 

Interviews with Hot Water Music. 

Leatherface, Discount, Clear. Lots of 

passion, lots of good feeling. Could 

have done without the travel diary, 

but then that's always the case for 

me... (GF) 

PO Box 7151 / Boulder. CO 80306 

ZINE #3 $1 

5 1/2x81/2- copied - 30 pgs 
InterviewsCGlow Skulls, Waifle, 
Spazz) reviews, photos, ads. The 
usual fare, but it's well done and has 
heart. I do think he should have given 
the VGS a harder time about being 
homophobes. (GF) 
1 1 1 Shady Ct / Longwood, FL 32750 

ROADSIDE #4 / $2 

5 1/2x81/2- copied - 24 pgs 
Roadside is a collection of personal 
essays in comic form. It's my favorite 
zine this month. Most of them are 
about room mates and growing up/ 
growing apart, but all are very well 
drawn, and the stories are nice. (BC) 
PO Box 4789 / Portland. ME 04 1 1 2 


5 1/2x81/2- offset - 40 pgs 
An amusing zine from a girl in Arizona. 
Contains stories about her job. boy- 
friend and original fiction. I liked her 
lounge fantasy involving her mother 
and Vegas. Enjoyable. (DS) 
1670 W Cascabella Drive / Tucson, 
AZ 85737 

SCENERY #11 /$1 

8 1/2x5 1/2 -copied -20 pgs 
This is a collection of short excerpts 
from letters to Mike, juxtaposed with 
some deliberately mysterious and evoc- 
ative "silent movie" ink drawings (with 
no necessarily narrative connection 
between the two). I think that if this 
were a larger or more complex project, 
I could have sunk my teeth into it with 
more enthusiasm. But for two stamps 
or for free, depending, if you order 
another issue of the zine (provided you 
mention it, of course), this is worth it. 
PO Box 1 4223 / Gainesville, FL 32604 

SHAT UPON #7 / $5 or "kick ass" 


8 1/2x11 - offset - 1 28 pgs 

This is a zine to put by the television as 

alternative evening entertainment, not 

because it's particularly an intellectual 



_*£/ 1 





Hvauiis M 

fc.s n»'H 





option, but it's really thick and chock full 
of all kinds of articles, lists, and lengthy 
observations (with pictures) about the 
cast-off relics of minor rock stars (uneat- 
en green onion garnish, for instance). I 
taughed in spite of myself at the many 
advice columns (the taxonomy of wear- 
ing certain t-shirts, and Stoner Steve 
answers questions about 
science) and lists like "ways 
the world would be differ- 
ent if ABBA was in charge. " 
Accounts of a Greenpeace 
expedition to the Arctic, a 
"primer" on Soviet canni- 
balism, and a girl's guide to 
"nasal husbandry" (nose- 
picking) are just some of 
the often well-written arti- 
cles that round out this zine, 
along with some fiction piec- 
es and comics. It also 
comes with a Humpy/Fire- 
balls of Freedom seven- 
inch. I have to admit, it's a 
good deal. (MN) 
PO Box 9801 / Missoula, 
MT 59807 




7x81/2- copied - 38 pgs 
The content is just what it says, just 
interviews with various punks who have 
various diseases. Talk about depress- 
ing. It's also very interesting, and kind 
of uplifting in that "wow, I guess I'm 
pretty lucky" kind of way. I think the 
format needs to be expanded, like I'd 
like to hear more from the editor on her 
life and expand beyond just interviews, 
but this is a powerful subject that is 
one of those things we "don't talk 
about", thus leaving all sorts of fasci- 

nating information waiting to be 
uncovered. Most of us don't know 
much about these illnesses, and it's 
intriguing. Personally, the "punk" 
angle is the least interesting part, but 
if you're a punk, I guess that's what 
you wanna write about. Hope this 
keeps going. (GF) 

500 Crawford St / Toronto, On, M6G 
3J8 / Canada 


trade or stamp 

5 1/2x8 1/2 -copied- 16 pgs 
I just don't know about this comic from 
Canada. It's drawn OK, and content 
wise it could have some potential, but 
this issue just wasn't doingjt for me. It 
is make up of short comics that don't 
really amuse. Save your stamp. (DS) 
37 1 8 Notre Dame W / Montreal, Que- 
bec H4C 1 P7 Canada 

STY #50 / $2 

5 1/2 x 8 1/2 - copied - 94 pgs 
This is both a "best of" Sty Zine and a 
project done by Icki/Mark's girlfriend, 
Mimi, for his 25th birthday. It reads 
from back to front, which is a little 
unsettling. In between reprints from 
Sty, there are are some very personal 
things from her 
and some of his 
other friends. It 
looks great, very 
visually appeal- 
ing. There are lots 
of photobooth 
pictures, and it 
comes with a but- 
ton and is just 
packed with con- 
tent. You would 
probably get the 
most out of this if 
you are really into 
Sty or know 
Mark. Be fore- 
warned, there is 
some pretty sap- 
py stuff in here, 
which is very 
sweet, but if you 


Malaysian Underground Music Fanzine! 

are bitter you'd be better off staying 

away! (MJ) 

PO Box 1 1 906 / Berkeley, CA 947 1 2- 



8 1/2x11 -offset- 148 pgs 
There's not much left to say about this, 
except that it's essential reading for 
anyone who considers themselves into 
punk or hardcore these days. The bible 
of New England punk, but covering the 
international scene. This issue comes 

with a 20 track CD (which is probably 
reviewed a few pages back) containing 
tracks from many of the bands fea- 
tured, including Anti Flag. Boiling Man, 
Out Cold, and 9 Shocks Terror. There's 
also an interview with former Econo- 
christ vocalist Ben Sizemore, who is 
punker than you could ever hope to be, 
and better looking too. Al's column this 
month focuses on the connected evils 
of gentrification and Sports Utility Ve- 
hicles, which are getting to become 
nationwide ills. It seems like everyone 
I talk to. wherever they live, is worried 
about gentrification. Something's got 
to give sometime, right? Great issue, 
great mag. (AM) 
PO Box 2746 / Lynn, MA 01 903-2746 

THAT'S IT, I QUIT #1 / stamp? 
8 1/2x11 - copied - 1 pg 
Despite all myths to the contrary, I am 
really into one page zines. 
They can get a lot of info 
across and I think are can be 
very useful for spreading 
ideas in small town scene. 
Not that this one talks at all 
about the local Setauket 
scene. It focuses more on 
European record releases and 
Wells' two cents about the 
hardcore scene. (SS) 

good zine. Interviews with Phonix, Good 
Riddance and Capture The Flag were all 
cool, as were the write ups and reviews. 
It's worth a buck. (NF) 
PO Box 2251 / Monroe. Ml 48161 


8 x 6 - offset - 28 pgs - English / Malaysian 
This zine has one brief article and two 
band interviews, the rest is record re- 
views from around the rest of the world. 
You can check it out at 

Abd Aziz / Medan Ga rden 8th miles / Old 
Klang Rd 46000 / Petaling Jaya Selangor 
/ Malaysia 


jFanzine Reviews^ 

THERAPY #1 /$5 

I am assuming this is so ex- 
pensive because it comes 
from the far off shores of 
Australia. It's a one time col- 
lection of comics from a zine 
called Big Smoke. It has per- 
sonal musings from one wom- 
an's life about work, boobs, 
life in general. The drawings 
are pretty basic, but that's 
okay. (M J) 

Amber Carvan / PO Box 1 255 / North 
Fitzroy / Victoria 3058 / Australia 

TRASH TIMES #7 / $2 

5 1/2x8 1/2 -copied -24 pgs 
An interview with Tura Santana (from 
Faster Pussycat! Kill! Kill!), a review of 
the Chicago Underground Film Festi- 
val, a rant about the Planet of the Apes 
that could have been, and '60s era 
Dutch punk. Music and film reviews 
round out this effort. CAR) 
PO Box 248 / Glenview, IL 60025 

UPRISING # 6 / $1 ppd or 2 stamps 

8 1/2x11- offset - 1 6 pgs 

Another solid effort by this brief, yet 


5 1/2x81/2- copied - 40 pgs 
The first half is mediocre, filled with sto- 
ries about the daily life of the writer. 
They're less 
than exciting 
and a bit preten- 
tious, but the 
other half is 
pretty great. It's 
a story about his 
trip to San Fran- 
cisco. I love 
reading peo- 
ple's stories 
about this city. 
It's always inter- 
esting to see 
how it appears 
to an outsider, 
and how they 
experience it. 
Though I do 
have to wonder 
why someone 
would travel 
halfway across 
the country to 
sleep in door- 
ways. The sec- 
ond half is worth the buck. (CR) 
1 731 Cleveland St / Evanston. IL 60202 

WASTED # 3 / $2. 50p+SASE (or trade) 
5 x 8 - copied - 40 pgs 
A cut-and-paste punk music zine with a 
focus on Great Britain, lots of interviews 
with bands like the UK Subs, Subhu- 
mans, Age of Chaos, Unite, Retch 
Records, and the memorably named 
Throw Bricks At Coppers. Most of the 
music and zine reviews are of European 
releases. Mark says, " Good to read while 
you're downing a pint of cider in the 
gutter." (MN) 

Steve Wasted / 51 Manchester Drive / 
L-O-S / Essex SS9-3HP / UK 



5 1/2x8 1/2 - copied - 60 pgs 
Weird indeed. This is a thick, thick little 
pocket-sized comic book about the 
lives of some cat-people, all done with 
the usual slightly introverted look most 
comics have. Due to the bizarre hand- 
writing and general chaotic nature of it, 
I found this pretty hard to follow, but 
the artwork is really great. This guy 
obviously put a lot of time into it, and it 
shows. It's a must for all lovers of the 
slightly twisted, and it's reminiscent of 
that old oddball Canadian comic, Sa- 
tanism for Girls. (RD) 
Gerard Ashworth / 770 Queenscliff 
Rd / Queenscliff / NSW 2096 / Aus- 


5 1 /2 x 8 - copied - 16 pgs 
Totally pointless cartoon. Came all the 
way from Australia to bore me with its 
inane humor. Blah. (SS) 
Killiliy Schell / PO Box 348 / Fleming- 
ton, Victoria 3031 Australia 

WILNOT #6 / $3 

5 1/2 x 8 1/2 - copied - 40 pgs 
This is a comic zine. a format that I have 
mixed feelings about. The artwork is 
clean, but the dialogue is not. The 
subject matter is topical and stock 
horror. You'd know it if you liked it. 

PO Box 348 / Remington, Victoria 
3031, Australia 



A new zine full of enthusiasm for punk 

rock done by a guy and his girlfriend. 

Includes show reviews, stuff for sale 

and info about lice. 

717 Liberty Street / Newport, KY 



Misanthropic personal zine with poet- 
ry, articles about video games, mastur- 
bation, etc. 

PO Box 2142 / Vacaville. CA 95696- 


#1 /$5 

Vaguely depressing, self-absorbed and 
mostly inexplicable short comic "sto- 
ries." Full color cover! 
Stefan Neville / PO Box 1 320 / Dune- 
din / New Zealand 

Cutlass is a political fanzine made by 
Janice Flux. In it, she tackles some 
difficult and challenging issues, such 
as gender, abuse, and the brutality of 
war. Among other things, she is 

do one. I was living in Rhode Island 
and working with him on a free 
paper. It folded and then I moved 
away. He kept pestering me, and 
eventually I figured I'd just do it 

anyone he meets. He'll say, "Here, 
read this and decide if you want to 
run away screaming or if you want to 
continue to he friends." 
MRR: Why do you continue to do 

working on establishing a (post-Epi- 
center) collective called the Free 
Radical space in San Francisco, and 
maintaining a BIT health guide web 
site. Look for a new issue out this 
month featuring information on the 
WTO protests in Seattle. Interview 
by Casey R. 

MRR: Maybe to start off with, you 
should describe your zine a little bit. 
Janice: I've been doing it for about 
three years. It doesn't come out very 
of ten, just whenever I get around to 
doing one. It's really whatever's in 
my head. I'm going to have another 
one out in a couple of weeks that 
should have stuff on the WTO and 
the community space we're working 
on here. For the WTO stuff, it's going 
to have interviews with people who 
where there and their perceptions of 
what happened. 

MRR: How did you feel about the 
protests in Seattle? 
Janice: Very frustrated by the me- 
dia's portrayal of the few violent 
protesters, though I'm all for proper- 
ty damage! And then talking to your 
average Joe on the street and hear- 
ing their reaction to what they were 
seeing. It all ties into the zine, be- 
cause I started the zine in Seattle. 
MRR: What prompted you to start 
doing a zine? 

Janice: Actually, a friend of mine 
who did a zine was pestering me to 

even though I had no experience 
other than a little graphic arts. 
MRR: I noticed the graphics style 
and layout is really nice. I'm all for 
using the technology that's available, 
but I also feel that the scanner was 
one of the worst things to happen to 

Janice: I agree. The Xacto knife is my 
friend. Teople actually ask me what 
computer programs I use. 
MRR: How do you feel now about 
that first issue that you did? 
Janice: I'm pretty proud of it, but I 
feel like I'm a totally different per- 
son. I'm trying to get them out more 
often, but as it is now, there's only 
been four. I look at each one like it 
was done by a different person. It's 
kind of nice to have a trail of what 
you did before. I'm not totally embar- 
rassed bv them yet. 
MRR: I'd rather the trail from fan- 
zines I've done disappear. 
Janice: I have a friend who will 
actuallv shove his back issues at 

janice flux , : /^i~ fe&j 
P*bo*/665J dm$P 



Janice: I've always wanted to write 
since I was little, and I always had 
this idea that nothing I could write 
would ever get published by anyone, 
so whatever I do, I have to do myself. 
It started as self -publishing and mov- 
ing towards self sufficiency. That 
reliance on the self is very important 
to me. 

MRR: I think that's one of the best 
things that comes out of fanzines. 
Janice: Originally, I started it as kind 
of an anonymous face for what I 
wanted to say, because I was a lot 
shyer then. But I'm different now. It 
was a little soap box I could get on 
without having to talk much. 
MRR: Do you think that the zines 
helped you come out of your shell a 
little bit? 

Janice: I know they have, which is 
really good. 

MRR: What sort of role do you feel 
that fanzines play in the punk scene, 
and what kind of role do you think 
that they can and 
should play? 
Janice: I think that 
they should be a lot 
more open to a lot 

Si more people. I see a 
lot of zines that 
don't want to open 
up the debate, they 
want to spew out 
what they have to 
say without wanting 
to hear what anyone 
else thinks. It's 
about communica- 
tion, even though a 
lot of it doesn't actu- 
ally end up that way. 
They could do more 
to create an open di- 
alogue for people. 
MRR: What do you 
think that people 
could do to make 
their zines more 
open to other peo- 
Janice: One thing 

that I always try to do is look at what 
I'm saying and really analyze it. 
Figure out if it's really what I be- 
lieve, or if I'm just having a reaction 
to a certain event. Look at it from 
different angles and see how some- 
one else might see it. The other 
problem I see is people saying, "Fuck 
you, your opinion doesn't matter 
because you bad mouth this band." 
That's something that needs to be 
worked on in the zine community. I 
also have a problem with hero-wor- 
ship zinesters, which seems to hap- 
pen quite a bit. It just doesn't contrib- 
ute to the equality that it's supposed 
to all be about. It's putting people up 
on pedestals again, which is not what 
punk is supposed to be about, and yet 
it is. 

On the positive side, I get to see 
other people's perspectives that I 
never would have thought about. I 
try to put out ideas about gender, 
sexual identity, and feminism. I 
think that it's' really important to 
keep those dialogues open. In my 
first issue, I had a whole rant about 
the word 
I had a prol>- 
lem with it, 
and now 
I've turned 
there. Now I 
feel that it's 
a broad 
term that 
can mean 
any number 
of things to 
There's a 
tendency to 
be closed to 
those kind 
of possibili- 

MRU: It 
seems that 
there's a re- 
action when 
people bring 
up gender 
issues in zines that they're "preach- 
ing to the converted." When they're 
talking about any other issue, like 
race or class, it seems as though they 
think of themselves as somewhat 
liberated. What sort of reaction do 
you get when you bring up these 

Janice: I get called strident. It was 
kind of a compliment. I've had a 
couple of reviews that were blanket- 
ed, but the obvious thing was that 
they had a problem was the gender 
issues. They didn't come right out 
and call me a stupid bitch, but thev 

put it down by putting down the 
woman phraseology. 
MRR: Cute little zine? 
Janice: Teah, or, "She needs to work 
on it a little more," stuff like that, 
That happens really rarely. A lot 
people are really happy with what I 
say and then they share what they 
have to sav. 
MRR: What role 
do you think 
that politics 
should play in 

Janice: I think 
it's important to 
have political 
bands. The rea- 
son I'm where 
I'm at is because 
of the music I 
listened to when 
I was growing 
up — how im- 
portant it is to 
enlighten peo- 
ple and open 
things up for a 

debate instead 
of a preaching 
Though there 
are people 
who go to Los 
Crudos shows 
and say, "shut 
up with your 
stupid poli- 
tics," who tend 
to be the more 
destructive as- 
pects of punk. 
They could 
probably use 
more politics. 
But I also feel 
that people 
need to have 
more fun, and 
not take their 
politics so 
damn serious- 

feel yourself under pressure to put 
out another issue? 
Janice: To an extent, but it's not 
primarily that. I know if I'm not 
giving myself enough time, I'll feel 
like doing a zine. There are times 
when I feel I have to do a zine, but I'll 
have to push those feelings down 
because I'm 
too busy. I re- 
ally wish I had 
the time to put 
one out every 
four months, 
but instead it's 
like once a 
year. Then 
there's times 
when I'll have 
material that I 
don't fell like 
touching for a 
while. In my 
second issue, I 
had a piece my 
mom wrote 
about being 
abused by my 
dad, and that 
made the zine 
come out a lot 
later then I had expected. 
MRR: What's the best thing that's 
come out of doing a zine? 
Janice: Primarily the people I've 
met, and just being able to show 
myself that I can do it. 
MRR: What are the things that you 
don't like about doing a zine? 
Janice: Having to deal with feedback 
that isn't logical, but is really violent 
and based on emotion. 
MRR: What sort of goals do you have 
for the future? 

Janice: A lot of my life is the Free 
Radical space. We're trying to get 
together a community info-shop, ac- 
tivist center in San "Francisco. Not 
just for activists, but for anyone in 
the city who wants to help out. It'll 
have meeting spaces, workshops, 
classes, handmade stuff for sale, 
community meals. That's a big part 
of my life right now, but I just want 
to keep doing the zine. It's evolving 

ly. They need to 
listen to each 
other, it's so im- 
portant that we 
try to under- 
stand each other 
before anything happens. 
MRR: Ton mentioned before how 
you don't get your zine out often 
enough. That seems to be the most 
common complaint when people do 
zines. It seems that in some sense, it's 
the system creeping in, that makes us 
feel like we have to always be pro- 
ductive and making things. Do you 

on its own. I just want it to always be 
there for me. 

For more information on the Free 
Radical space, or to order back issues 
of Cutlaaa ($1 ppd) contact Janice 
Flux at: PO Box 16651 / San Fran- 
cisco / CA 94116-0651, at 
magdelene@jesusshaves, or at 
(415)789-8000 xll80 

re moved... I 

Imake note of our new address! 


"I Am Jon Stone" 

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(Kirk Bruback "Riot at The Sbriner Cfro 

■~" (studio tracks ♦ mystery trac 

J7.00ppti U,A/J9.00pp4 Wo^T* 

Mark Bruback 'The Scphirotb' book 

(political, metaphysical rants) 

tB.OOppd L/jA/,10.0pp4 World. 

'Mai k Bruback/Whorehouse of Representatives split 7' 

"Born Down Nike Town' (coma with matches) 

"Active Minds/Umbrella Tube T 

'Chios Bastards "unhellberkundend' (gurtawt of Hiatus) 

"Decrepit/Scathed split 7' 

'Detestation "Blood of the Cods' T 

"Dczcrter T (polish male/female vox) 

"Plssobet/Downward Spiral' 7' (sweidish punk) 

'Extinct Government/Recharge 7' (guitarist of Up Cream) 

'Global Holocaust/Obnoxious Race 7' 

'Global Holocaust 'Human Mistakes' T 

'Hellkrushet/Praparation H V 

'intolerncc 'Aspectos humanos de la Vida Animal' 7' 


"Prg Destroyer/Oichid 7' (singer of Hiatus) 

•Scapegoats 'Kopftos' V 

'Shoot the Hostages 'Shoot First Live Free' T 

'The Skamatlcs 'No Hero's' 7* (pogo punk) 

I Stracony 'Love and Friendship' (pc punk. Poland feamale vox) 

"Toxic Narcotic/The L/nseen sprt 7' (crust/pogo punk) 

"Zarbi Band/Garage Lopez 7' (frencb punk) 

All 7" ,4 OOppd l^A/ri OOppd World 
(checks to Katrine not Outcast) 

Outcast Records 
PMBI84, 2608 2nd Ave 
Seattle WA 98121 

OiMc»»lrctordi'u antisocial. com 
h I ip//bea m.(o/ou icul 

(MsrpflrvK-orcwiUXi p»5tj? 



cd/$9 - lp/$8 - outsldo u.s. add $2 - send cash, check or m.o. to soda jerk records H 

p o "ox 4056 - boulder, co 80306 - send stamp for catalog - or buy online - 

Mfflm TRIO 

* n ° . .• ii 

"maybe i* 11 

catch fire" 

coming february 2000 


continues . . . ' 

coming *•***•** 




ki'fJ&APPaRATJS - s/* 

I kir\3 aPPA^tus - mARBLftS 


felt> b t Trie KiDS TABLe - 60QD LUX.* 

march : 

SfrffBfcLL - +CnKlA 

IUW -/OUT- VlfA 

|o« M«s*»-nif>j! 
Cia* n«i 
315- o tfr?. 
stni c«ih,thec 

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ovrtsiJeuS j.lf«tfirt,i 

«vtrf 1 S -f* piVtaqC 

(Jny Kt lp wWUe«$taf 

is y0«ct • ^fno "4 <T 
SAfflT *»r <V+A'oy 
Pm*AI -ho Jf+ »A 0Wl- 

ftMiJfnj lis4.'"TM«fcs! 



po Jbox 35SBS 

eer©n CA 
5 S030.558S 

www . asianmanr ecords • com I 


CujraBa Punch IoYmw] 




1 332 "Skinless" EP 

DAMAD 'Rise and Fall" IP/CD 
"15 Counts" LP/CD 
"Monument* " IP/CD 

"History Behind the Mystery" 

"Specimen" 7" 
"Electric Funeral" 7" 

SVART SNO "smock'n Roll"!* 
TOTAUTAR "Klas inte Ras" 7" 
"Control" EP 
Split w/ Deathreat 7" 
1st 7" 

"T.V.Baby" 127CD 

Prank.RO.Box 410892, SF.CA 


Prank is distributed by Mordant Records in San 
Francisco (415)642-6800.Fax (415) 642-6X10 

Sales@mordamRecords.coin. Slorcs.disiros, etc 
gel in touch with ilicni.Tliey have a really cool 
Website now too-www.mordamrccords.coni. 

NEXT: Artimus Pyle 12" Single, 
DAMAD "Burning Cold" LP/CD 
get the Creeps On Candy Lp On 
I Alternative Tentacles... 


The Masses" 

CD $8 

10" $6 


"Setting Fire 
To Sinking Ships" 

CD $10 
LP $8 


' ^f "West Side Horizons" 
3 CD $10 

* «-^« 6/ souks 16 iniieleased 
JJ"t limn (he Jlioileil MIIB i»lit 

\*~>> I 

Various Artists 


(Spazz.Despise You. 
Charles Bionson, 
Pretentious Assholes) 


[[p essimise r • recou ps 
'pessimiser • records 

Pessimiser logo on XL 
grey Beety-T. $12 

All items ppd in US. * Can. and 

Mei add SI pei item • Overseas add 
13 (or CD/12 each additional . 15 toi LP. T-shirt/13 each additional 
(Asia/Auslialia SG lot each IP, I shut/13 each additional 
Checks. MOs. 01 cash payable to Pessimiser Records 
POB 1070 Hermosa Beach CA 90254 
distributed by revolver usa -415/241-2426 


XJk 1 *, f§ l,tmm HPSMRTS fSWRllR 


beginning Jan. 2000 ttlB STATIC [Seattle! 

"Bar Fight" r 
WELFARE (Sweden) 

On A Mission" 2x7" 
the REDS lausUnJ 
do YOUR part for the rock V roll war! 
Buy only the finest rock V roll records, 
records that scream urgency and bleed 
are doing our part as rock V roll 
warriors to Further the cause. 
Do YOUR part-seek out 
these and other high-caliber 
rock 'n' roll records! Support 



312 PARK PLACE #3 BKLYN NY 11238 
also available thru Vital Music Records, Get 
Hip, Subterranean a Underground Medicine 


l»0 ItOX 11!> 



"Cirins you the build. " 

Federation X/ROX 7" 
Federation X 12" 

Comine Soon: 

The Narrows 12 
The Dive Kissers 7" 


Send one dollar postage with orders to: 

Molasses Manifesto 

505 32nd St. #107 

P.M.B. 190 

Bellingham.WA 98225 

GTA 035 - UR FVNHTION SVART SNO •Bellyache & Acideyes ' CD 73 min. Ur Funktion recorded this unre- 

leased session in 85 at Mob 47s studio/bowling alley. Svart Sno's 88-92 cuts feature many unreleased. 

Blazing Swedish thrash. 

GTA 036 - SHATTERED FAITH 1982" CO 64 min. The complete session with numerous extra tracks that 

couldn't fit onto the onginal live/studio LP. awesomely remixed by and featuring Kerry of the US Bombs. 

GTA 037 FUNERAL 'Have You Seen My Leather Jacket?'' CD 68 min of '80 82 So Cal punk including 

lots of extra tracks from the same session that produced the much sought and recently bootlegged from 

"Waiting For The Bomb Blast" 7 ". 

GTA 038 - FALLOUT "Spit On The Innocent" CD 58 min. Newly recorded in '98 studio session for GTA ♦ 

bonus live gig. from this Australian blistering high speed assault unit who've has previous releases on 

Spiral Objective. 

(all full length releases are an hour or more & come with a 16 page booklet, except GTA 031 with 21 min/8 page) 

'■WE KEEP EVERYTHING AVAILABLE: Agnostic Front, Trip 6. Mourning Noise, Demise, Voorhees. Sin 34. RF7, White Cross, 
brclc One, Rattus, Adrenalin OD, Red Scare. Raw Power, Cripple Bastards, Ami. Terveet Kadet, Plain Wrap/Mox Nix, 
Abandoned (w/Tony Adolescent), III Repute. Lost Generation, Human Hands. Bad Posture, P.E.LM.E. and more! 

(Send 55* in US stamps or 2 IRCs for full color catalog. No stamps/no reply) 
Mailorder from BOMP1: $11 ppd (CA residents add sales tax), $12 ppd Canada, $14 ppdl 
World airmail— except GTA 031: $8 ppd (CA residents add sales tax), $9 ppd Canada, * 
$11 ppd World airmail • wholesale rates are $8 to stores and $7 to dlstros and ^ £ 
mailorders • attn: International labels, for trades contact: Sound Idea In Florida; ^* - 
or Agitate 96 c/o Richard Ramos, 11479 Amboy Ave., San Fernando, CA 91340 




192 orchard street new york city 

F Train to 2nd Avenue 

www . soundandf urymusic . com 

it's a record store 

independent rock hardcore hiphop 

performances more 

[0UT NOW. 'bullshitj 

(NEW 2 song "V 


#1 DSATH 17T.3H KIDS 7" 


■ #3 SUBMISSION HOLD 7 n &; ----- 

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#7 AREA 51 "discography" 10" 
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'} #9 1!! - "dla ease" 7" 

J #10 SAKE a /t 10" 

#11 BLOOD BROTHERS s/t 7" 

'. r^i r.PO^OX "S5793 

510 420 8735 / 

1BL00DBR0THER3 12"| 

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asshole parade 

bleeding face 
brutal truth 
bureid inside 



Define a Lifetime 
Student Ghetto 
Number One Fun 
Blood Sua Dnps 
Goodbye Cruel 
In and 01 the Sell 
Laid Insignificant 
Youth Attack 10 
Repress I St EP 
and the dirty little... 


CHRIST ON PARADE Insanity Is a sane.. 

CORRUPTED Uenaudose de... 

DISASSOCIATE Symbols. Signals 

DYSTOPIA Human - Garbage 

E-150 True til Deaf 













Old Man of the... 
Cactuses Come... 
Zen and the art of .. 
Erode the Person 
Destroying the.. 
Cunt of God 
Wolves of.... 

SCRAWL - Dirty Graphics and Strange Characters 

SPA2Z Crush Kill Destroy 


UNRUH Setting Fire to.. 











Assuck personnel doing the SiEs thing - as you'd guess by their involvement, it's way fast - quick quick quick 
Seemed inevitable - and here u is The collection of everything they've released - awesome political US hardcore 
In the ven of any humorous, quick and tuneful band - snide humor with catchy, upbeat and quick songwiting. Go. 
Nutty Aussie hardcore with^blood on the cover (realty 1 ) - breakneck and broken nose - rough stuff from down under 
Double CD with a retrospective look at this influential grtndcore band - touts out at 56 tracks, with EPs, kve etc 
Large and complex gnndcore - huge guitar sound really brings the walls down - multiple vocahsts, manic breaks... 
Another great painng - Florida's heaviest and the graphic legend. Half hour of bludgeoning hardcore, ace package. 
The infamous and now long out of print 1 2 re<ssued as a European 1 Poster, sticker and more - they Still rule. 
The first EP back in print, although this might just be around for a while as well - the classic stuff, as you know 
Recorded back a while ago ( 1 99 1 ) - finally released - Five songs from this German infantry outfit - funny layout.. 
This is the best thing I've heard this month - totally abrasive, somewhat amusing, and ultimately unfriendly. 
Great collection - the two EPs. the second LP and an unreleased demo from 1 989 - Timeless Bay Area HC 
Double CD with probably more Centupled than most might need • one song 9 SO* mmtues, one 07*4. Whoa. 
Their second full length on vinyl - new layout, same insane noisecore - they're the hugest sounckng US band again... 
Finally around in some quantity - the first LP back in print • crazy stuff as you know - dark, doom laden stuff 
Blazing Spanish hardcore - Martin realty picks em ■ Politics, hand screened covers and the lyrics in two tongues 
Amazing hardcover book - collection of flyer art Irom all over - beautiful printing, crazy selection - gotta see this 
Gruff metalkc hardcore - midpaced, but the huge production really bnngs this forward - requires a lot of volume 
Another scorching platter from these Germans - it's about a thousand MPH. gasoline vocals and entirely in German.. 
Great - dual vocals, and the kind of politics that still keep me going - insightful, incidiary and inspirational. 
Great stuff - neat packaging, and some totaBy ferocious hardcore - several people screaming the whole time. Ace. 
Doing what no one else would (could?) do - they're making about the strangest hardcore I know. Definitely unique. 
Much anticipated full length ■ and worth the wait. Spiteful, uncompromising and abrasive hardcore. Straight ahead ... 
About everything you'd need, and cheap tool The 'Erode' LP, Embraced EPand various comp / split materials... 
Phobia and Pessimiser - two of the SoCal powerhouses - teaming up - doom laded hardcore yet again. 
Crazy packaging - sealed in a red vinyl bag - { 2 ) covers - one embossed, one screened. Includes 'Season In' tyncs 
It's made it onto vinyl - awesome latest ful length from these Aussies - not pretty, not nice, and back to their roots. 
Side project for Gehenna personnel, and it's fufl on metal - taking their hardcore roots, applying that meialic finish 
The best modern grahtti book I've seen - full color and beautifully printed - Worldwide coverage and bio info 
What needs to be said about a new full length? West Bay Coalition, and it's as good as you're hoping" 
Crazy packaging from Neurosis side project - one sided, etched vinyl and a hand screened cover. Interesting/ Unique 
Whoa. This has the hugest production. The Arizona desert, continuing to bake desperation and spite to a ensp. 
Gloom putting the petal down - great stuff from Monster X, By the Throat. Police L*te and Devoid of Faith (RIP) 
Man pulls it off again - Flash Gordon. Lie, Crucial Section and What Happens Nent? Doing the flipped up hat stuff... 
Two Michigan bands bust out - former Eanhrncver / Trephine do the raw and angry with the flip crew styled HC 
BUzing stuff from both - some of the premier Japanese blurr meets A tracks from iheir Spanish counterparts 
Great Aussie split EP - blistering European hardcore from DS-I3 (whorulel) meet some burty Ausste HC 
Two of the stranger hardcore bands around today team up - it's inventive, original and totally memorable 
Check trw one - C Bronson / C Casualties/ Gob/ GAIA/ Capt 3 Leg / Laceration / Palatka and 4 more. Whoa. 
The latest - workin some new names In - 2 Trip / Mr. Dibt>s/0J Sruro/DJ T-Rock - I A turntabiiists in total 
Check this lineup - Dahmer/Demon System 1 3/Dudman ( Japan)/C 8astards(ltaly) /Tumult {Ger)/Ruido. Whoa. 

No Idea 



No Idea 






Youth Enrage 









Bacteria Sour 











No Idea 









W Grind Fed 



Life is Abuse 



Lengua Armada 



Weight - 42 01 












SG Records 














8.50/1 1.00 

Locust Furnace 






Wicked Witch 



Weight . 32 OI 



Slap A Ham 












625 Prod 












Deep Six 






Bomb Hip Hop 



Knot Music 



online catalog 
updated weekly: 

Full print catalog- send $1 : Ck / MO= Vacuum : Foreign or Credit Cards ask or WWW 

US Postage rates only!!! Post Info: EP= 2oz / LP= 8oz / CD= 6oz / Mailer = 8 oz 
Spec. 4th - $1.50 first Lb, 0.50 ea add Lb / Priority $3.50 first 2 Lbs $1.50 ea add. Lb 

new phone 
new fax 


POBox 460324 SF CA 94146 

\r«f>e\rfekt [ . 

-^ Rccofel; a«<l Mailorder ^| 

Mailorder ft-fT fV $ale-. 

6ra*d Prixx 33 MPM i? tft "6'and 
Prixx play loofe and Ml of «n«rgy 
the way decent Pop-p«»k D^ktta."- 

"And yov Jaid We Covldn't ^ake it 
Corp." (C«) 1 »ifc fets featuring Ten foot 
Pole, Octave 1, Pea fkooter and More... 

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i/-p-OOfc Tke T.-rdz "ree^a^e Rejection" 
CO fart, Rai">onef driven pop p»nk.... 
i^p-007 the falfief "Mate Vo." CO Htat- 
r<e» /-eetf Minor Threat.... f-nny faft 


irp-OOJ Nooner/llo»fekoy fplit EP fl"l 

tfooner= Lei^k Valley ^eek rock. Ho-fe- 

koy, Errr? Ek? Ckica^o, Mew Jerfey, 

California Er«o-pop....?? 

if p- 001 Pea Jkooter "J/t" C» 

Pop-P«nk via Toi«r*y Roe.... Faft, fnotty 

doo wap fon^f fueled ky tke love of 


ifp-010 Jke'f A 6»y/ Grand Prixx Split 

EP d"> Jke'f a 6»y, Ex Q-eerf Geoff Ufe- 

leff and Rick Refpectaklef kand, faft 

Portffovtk Pop. 6rand Prixx fnotty faft 

Pop in tke vien of Jw and floppy Jecondf, 

if-p-010 Tke Midget fancUk C»EP 

Bad Reli^on efk nonfenfe.... J/->art lyricf, 

faft ^./itarf, and a driving keat... eno»gk 

to rake yo» cave in yo»r fk«ll 

{toref! 6et in Contact 1 . Were the 
cheapeft •jar'C in town.... Were 

diftrilv/ted l»y |ntcrp«nk Plf- 

trtf! 6ET IN CONTACT 1 . 

Pricing, (i^perfekt sUff) All CBf, and 
Epf J5 + J1 Jkippin^ (Up to I CPf) ... ft 
Jlppd + *1 (Shipping Up to 1 T'f) Add 13 
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If-p«rfekt Recordf 

Po Sox IMfc Colo^fcia, M» 110*5 

tolpCA POSW IH6S6 
6AiNesV|lte Ft 1,1(00^ 


•eewij, pis6Avcr'c(w\p r 03 

(euie».piNb9nkfe > puMDitseAT l prjuwn*,') 

• lizARDs CD *7 
»S6\AjgR. TROUT CD $7 

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•PAftTT|MeiA»HOPeu|> 46 

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• DWARF WTcH v pw sow' 7" *3 

•, PlNHeAD GWPDUDeP. ^t»' icr *7 
•SC#b*?DwTWuW-iN'CD 4SS0 

• I20UHC€S or CXWRA6€ ' CflMP WU IC 

out now.*.' «8 pro 

• VERY SMAkk T-5W/KTS f <m • L ■ XL) 

Records* Stuff We Sell: 

i(afn>ml«U. CD 

:v..r tvli-.icil o»»' 


rUvjAZ.1 'Instrument' ioundirack - 18 songs 

LU N G F I S H The Unanimous Hour' 

CI |/t ATI -Ifiitrumenf ■ mtoni/vK»tobyj«mCoh»>n«n6 

rWWMA.1 FufuLHSmkn AveiUfatr mVHS 4 ML vtdeo 

BLUETIP join us' 

'Artificial Horizon' 

'In Mass Mind' 

Con Art' 

End Hits' 








BLUETIP 'Dischord No. 101' 

MINOR THREAT CD has every song! * 


'regular CD. pnce<&/ f CasW!tic. pnc#GJ "CDnnglc.i 

Price Guide, including postage, in U.S. $'■ 
USA » s cJ"* c da Airmail 







CD single 











We a<ce*tVm'MC.'D«ove*-CaJ!(703>35l-750»cKE-tTurfor Fj 
t«p/A<*wwvcH»th«mtorr i/dB fij^hord.cgn 

S«xw We d«l dlr»a W SI-7SB2 


Illustrated CATALOG! 
please send one US $ or 
* US Sumps or 4 IRC* 

For a plj.n but complete 
LIST ol meeds, send 
Ul a US It-imp or an IRC 

3819 BEECHER ST. NW, WASH., D.C. 20007- 1802 

and the Geo*. Contact the vebrtte ftr tcur inSa, etc wwvfctnrppererjadfcrxni See laE! 




.Jtfew 13 Song CD 
Spring 99' 

Torquo Records 

22210 U&A 



|J I* I *" No Records shins S3 ppd 

" Coming soon: 



split LP 


Still available: 

$3 ppd usa CflllffYir 

S5 ppd World ^" ^* W -■■ H Jf 


Also out soon: 

Debut LP by Chicago's.... 

t-t-UJ.UJ.LXWj llljj. 00 ^i J 

Send SASE for catalcg. The new Lickity Snlit CD 1h ffin tnrl. nw . w a/n tt^. anrl fl h~ 

Distributed by: 

most or the world and 
So there! 

Stamp/IRC - eatalog 
a wn geocities-conVnorecords 
n ore curdsiu' 

POB H088 




"..a new EP of excellently 

executed, lyrically heartfelt 


Hit Hit Sept. '99 



• ..a contender for punk 

greatness and success.. 

Every song is rippin' . . ■ 




8 songs 10 "EP & CDEP 

Get the record and find out what 


'Shoot The Moon' 
CDEP-S8 !2"EP-$7 

I Jrj^iHtr'i 'iTMTTriiiliT'Ajiij 

CD $10 LP- $9 

P^^^™^T!.^ i»iiv hi L LENGTH "Hastt wm& §[?>®ib§] 
f*NEW ONE MANABMl full uni. ■J M|||C reB 200 o| 

Cu* * 



Adeline records. 

AH prices are Postage Paid in the US. Canada add S.. Oversea, add S* ( CATALOGS! SEND A S ASE] -J,^ awa y. 


Attention Classifieds Readers: When responding to these ads remember that the world of MRR readers is not a punk rock 

f ri i UVri 1 !'? ni* »ifrt1i ^IC i i i i ^t ^i ff Wi ' I JIwi LM u fu i.rl i 'iJ.r i' .a J.I.I 1 1.] 

tell you how scared 1 feel when I see an ad that begins "16 year old girl running away from home needs places to crash... 

Hardcore, Indie, Emo, and Ska from 
the finest independent bands and la- 
bels. Write for free catalog and stick- 
ers: Skatterbrain Records POB 68082, 
Schaumburg, IL 60168. www. 

(USA etc.) Trade/sale, Thousands of 
shows/promos/tv clips. Stuff like 
Jockney Rejects, Propagandhi, Busi- 
ness, Screeching Weasel, Exploited, 
Poison Idea, DK s, Blitz, Queers, Con- 
flict, GG, Dickies, Descendants, Op- 
eration Ivy, Disorder. Ruts, Misfits, 
Subhumans, Snuff, Gin Goblins. SAE 
(UK) 2 IRC's (overseas) or decent 
trades list: Dave, 50a Great King St, 
Edinburgh, Scotland. E-mail: gingob- 

FREE CABLE PUNKS! Laid off punk 
cable worker shows how to build your 
own descrambler with only 7 radio 
shack parts, for under $13! 7 step in- 
st ructions anyone can do. Fast service, 
you will receive in 2 weeks guaran- 
teed! Send well concealed cash or $ 10 
money order to: Ed Duckfield / PO 
Box 157 / West Sayville, NY 11796 


Laid off punk cable worker tells all! 
Build a descrambler for under 13 
bucks with 7 radio shack parts. Very 
easy to do. simple 7 step instructions 
sent immediately! Send $10 well-con- 
cealed cash or money order to Ed 
Duckfield / PO Box 157 / West 
Sayville, NY 11796. DIY punks! 

DIXIE PUNKS vinyl stickers avail- 
able for all you Southern punks. 
Stickers are 2.13" X 2.75", red back- 
ground, reads "DIXIE PUNKS" with 
Black Alabama Flag and chaos sym- 
bol. $1 ppd. Dirty South/ PO Box 
660881/ Birmingham, AL 35266/ 

IBALZAC - rare items wanted from 
Ithis Japanese band (7" on MCR etc.). 
IPeople in Japan. Nihongo de renraku 
Ikudasai! Jun Kato, 1910 Fieldwood 
Dr., Northbrook, IL. 60062, USA 

$5 CD'S... Confederacy Of Scum 
Baby!!! Antiseen-Heie To Ruin Your 
Groove, Rancid Vat-Iconoclastic 
Icons, Conqueror Worm-Ride On, 
Hellstomper/Before I Hang-split cd. 
Confederacy Of Scum-Supershow 
Live 97. Tribute to Antiseen-various. 
All the above $5 each, cash or money 
order to Jeff Skipski at Baloney 
Shrapnel, PO Box 6504, Phoenix, AZ, 
85005. Overseas add postage... 

FOR TRADE: Stalin, Comes, Gauze. 
Lipcream, Swankys...etc. 300 items Ob- 
scure Japanese Punk/HC records. Want: 
World Punk/HC. Send your want/trade 
list to - Sumiko Iwamoto, A-207 Keiefu 
Hights, 3-47-1 Fuda Chofu, Tokyo 182- 
0024, Japan. 

FREE 3-Song Cassette #5 from Skidd 
Freeman, the Master of Chaos. Send re- 
quest to Skidd Freeman / P.O. Box 4281 
/ East Lansing, MI 48826. Or e-mail: (One per 
household, please) 

FOR TRADE: Stalin, Comes. Gauze, 
Lipcare AM, Swankys, V/A great punk 
hits.. ..etc. 300 items obscure Japanese 
punk/hc records. Want: Rattus, Massa- 
cre 68, Disarm, Impact, ...etc. World 
punk/hc. Send your want/Trade list to 
Sumiko Iwamoto, A-207 Keiefu Hights, 
3-47-1 Fuda Chofu, Tokyo 182-0024, 

FREE. The World for Free was stalled 
by a touring band to help with accom- 
modations in people's houses. Since then 
it's grown to over 250 members. You 
don't have to be in a band! If you like 
people more than hotels, find out about 
mation write to: THE WORLD FOR 
FREE, PO Box 137-M, Prince Street 
Station, New York NY 10012, USA. 
Email: or via the web: 

from Phx outsider band Drift. 60 min 
$10 ppd. anarchoartworx, 2251 E 
Cheery Lynn. Phx., AZ 85016. "a nu- 
erotically psychotic art -rock ensemble... 
Creative, crazy, different, and not head- 
lining a club near you very soon." - 
Music Voice. 

GLOOM 12"! To William (? I think...) 
Wong from Canada (not sure about the 
name). I bought a whole bunch of Japa- 
nese HC 7"s from you a while ago. I've 
never received the Gloom 12" yet. Please 
e-mail me. Thanx. / 
Jun Kato, 1910 Fieldwood Dr., North- 
brook, IL, 60062, USA 


Raw street punk! Live from Club Mesa, 
CA 1993. 14 songs. Extremely rare 
footage. Features Duane Peters from 
the US Bombs and skaters' art and 
Steve Godoy. A must for US Bombs 
fans. $13 US $15 world. Send check, 
money order, or concealed cash to Brad 
Dlugacz; PO Box 620, New York, NY 


have many mega-rare demo/live tapes 
from bands like Doom, Amebix, F. 
Conflict, Mob 47, T. Kadet, A. Rotten, 
Disclose, Nausea, Varukers, D. In- 
stinct. E. Hippies, L. Cream, Outo, 
Chumbawumba, N. Death, P. Idea. 
etc, etc... Write or e-mail for a new 
list. Jun Kato, 1910 Fieldwood Dr., 
Northbrook, IL, 60062, USA / 

cializing in Anarchist. Labor and Sit- 
uationist books, radical culture and 
politics. Worker owned collective 
since 1973. Send $2 for our catalog to 
1004 Turner Way East, Seattle, WA 
98112 or order online: http:// www. 


and wave 1975-85. Stoopid Records 
is open - 6546 Hollywood Blvd. #214, 
Hollywood, CA 90028. 12:00-8:00 call 
(323) 467-6990 for mail order or email Shop on-line http:// 

WICCA CHICCA the pimps second 7 " 
includes Nose Pain, Cruisin For Cre- 
ation, and Dying Nation $4 ppd. and 
$25 gets you ten. Send to Rapid Pulse 
PO Box 5075 Milford CT 06460. Also 
for the same price My Dad Smokes 
Crack 7" with Strap On Sally and K- 
9 Christ to Scott Chandlser 8461 
Quincy St. Norfolk VA 23503, 
www .the 


list with more than 1600 old Punk, 
Ska and New Wave records send $2 
or 2 IRCs to: C. Witte/ Schauenburg- 
er Str. 42/ 24105 Kiel/ Germany 

TION at D.I.Y. prices! Duplication 
Discounters can offer you full ser- 
vice CD manufacturing, from bulk- 
raw discs to fully designed and 
packaged four-color projects. We do 
stickers and posters too! Call 631- 

Discharge / Conflict / Doom / Citi- 
zen's Arrest / Articles of Faith / Black 
Flag / Wasted Youth / Rhythm Pigs / 
Samiam. From: Andy Edwards / 12 
Aber Las / Flint / Flintshire / CH6 5PZ 

VIDEOS! VIDEOS! Over 300 bands. 
Send SASE & I need projects. I do] 
printing, silkscreening, stickers. 
Email: or William 
/ 1019 N Anza / El Cajon. CA 92021 

\MAXIMUMROCKNROLL <lassificclsl 


Murder Legendre CD "Arid" is avail- 
able now. 13 tracks of experimental m 
noise, sound sculptures and anti-mu- I 
sic. $5.00 post paid (payable to Cedric 
Crouch) send to: Spine Punch Distro / 
P.O. Box 163 / Barto, PA 19504 


Hi, my name is Jen. Various medical 
conditions have prevented me from be- 
ing able to work since May. I'm totally 
broke and my mom's shitty insurance 
company won't help/ So I decided to 
swallow my pride and reach out to you 
- the punk community. Any donation 
would be greatly appreciated. Even just 
$1 would be great. Please at least con- 
sider my request. Thank you. THIS IS 
NOT A SCAM! 2989 Franklin Blvd. / 
Sacramento, CA 95818 

LOOKING FOR THE following vinyl: 
Dry Heaves-Shoot Yourself-7". Active 
Dog-7", Arson-7", No Exit-LP. 
Aburadako-1. LP (Japan), Remo Voor- 
7", TV War-7", Glueams-Strassen-7", 
Dirtshit-7", Ex-All Corpses. ..7", 
Mirandas-For Promotion 7", Techni- 
color-Bunker-7 ", Pop Rivets-7", Devo- 
Tiger Wax LP + HC-Devo-LP, Kortatu- 
several 7"s; see next ad for vinyl I have 

* _ a.-. 1 _ I ml ¥ • . .1 . i '*» i 

per Str. 12, 49082 Osnabruck, Germa- 
ny. Tel. (0)5 41/57 35 64 

FOR TRADE: Bog Ugly-I've Seen It 
Vomit-7", Pekinska Patka-Bela Sliva- 
7", Sportsmann-7", Bleach Boys-12", 
Child Molestors-12", Martin + the 
Brownshirts-7", and lots more, fuck 
CD's! Thomas Lindenbaum, Voxtruper 
Str 12, 49082 Osnabruck, Germany. 
Tel. (0)5 41/57 35 64 

PUNK N' ROCK COMPS collectable... 
Looking for old/new V/A comps on CD 

greatly appreciated. Would you be so 
kind and drop a copy to Drago Mlikot- 
ic, 55 Kresimirova, HR-21211 Vranjic, 
Croatia, Europe. Th@nx! 

Il ABELS / BANDS! I have UK Oi! re- 
leases for trade [Helen of Oi recs, Go- 
Inads comeback 7", Toy Dolls cassette 
■albums (originals) & more], Good deals 
loffered, will trade with anyone releas- 
ing 77/82 style punk or Oi. Send de- 
Itails, I'll send my list. Trev / 57 Bri- 
lardene / Burnopfield / Newcastle- 
lUpon-Tyne / NE16 6LJ / England 

flict, Oxymoron, Dropkick Murphys, 
Screeching Weasel, Meat Is Murder, 
Social Distortion, Buzzcocks, and 
more. Send stamp for complete list or 
visit http://www. 

tro, 712 l/2-8th St, Columbus, IN 47201 

'.N.A. - RARE HC/CRUSTtape mail or- 

er ! Tons of rare demo & live tapes from 

loom, Discharge, Amebix, E.N.T., Con- 

ict, Aus-Rotten, Crudos, S.O.B., Outo, 

.vskum, Nausea, Crucifix, Kuro, F. 

lonflict, Larm, T. Kadet, N. Death, Mob 

7, Bastards, etc. U.K., Scandinavia, 

apan etc. '80's - '90's. Write for free list. 

F.N.A. c/o JunKato, 1910 Fieldwood Dr., 

Northbrook, IL 60062 piacarot® $3 ppd (U.S.) / $5 ppd (world) 


* .!_ C* - .1 t> r » -1_ ;i / ..1 • 

to do with Pee Wee or Fat Albert gets 
you a bonus gift). MailtoM.C.A. PO Box 
43481 Somerville, MA 02143. Also check 

SCAVENGERS 7" "Born to Bullshit"/ 
"Supported By the State". 2 unreleased 
songs recorded in 1978 from one of 
N.Z.'s first + greatest punk bands. Only 
200 copies-mailorder with badge-wow! 
Send U.S. $5 includes airmail post world 
to: Simon Kay PO Box 7127, Wellesley 
St., Auckland, New Zealand. 

WRITE ME AND MAKE my PO box hap- 
py. 18 y/o punk kid into skating, screen- 
printing, travelling, records, Nes, zines, 
Devoid of Faith, Deaththreat. 9 Shocks 
Terror, late 80's Bay Area, Boston, and 
Japan. Mike Kenneally/ PO Box 8431/ 
Albany, NY 12208-3018. Seven words 
left? Power violence fucking sucks! 

Anal Cunt stuff from July 1995 in New 
York. Insult stuff from February and 
March 1998 in California. $10 postpaid 
Worldwide to: Wicked Sick Records / 
P.O. Box 650101 / W. Newton, MA / 
02465 U.S.A. Distributors get in touch. 

HUGE LIST OF PUNK records / CDs / 
badges! All styles covered. S/H 77/Oi/ 

Urv .-.-11 -- — _ 1 1_ . « : ■ I I 

es! Also wholesale/trade/may also buy 
your release! Send SAE/IRC - Trev / 57 
Briardene / Burnopfield / Newcastle- 
Upon-Tyne / NE16 6LJ / England 

OLD SCHOOL PUNKER wants to hear 
from ass-kicken punkettes from any 
where ! If you have the attitude and want 
anarchy and chaos on a global scale... 
contact: ©Larry / 2933 262 St. / Dead- 
witt, Iowa 52742 / 

A GOOD FRIEND of mine is in prison, 
and it seems like he'll be in there for I he 
better pail of the decade. He is into punk 
generally speaking and was truly dedi- 
cated while he was on this side of the 
bars. Needless to say letters are a bliss 
for him since he has no access to zines. 
Please write to him. His name is Fred 
Jeannerod and he can be reached at n 

matics, Runaways, Pistols. Nina 
Hagen. Toyah, Angry Samoans, 
Germs. Day Glo Abortions, Drag Rar- 
ing, Action/Horror movies, hot cai s! ! ! 
Write to me if you're a cool Latin or 
ot her punkette! ! ! ©La itv / 2933 262 St. 
/ Deadwitt, Iowa 52742 / dragster® 

WANTED: WENDY O. Williams rein- 
carnated!!! Are you punker than 
FUCK? Your photo to this crazy old 
punker gets mine! Sleaze if you must! 
Only aspiring and serious terrorists 
accepted: Anarchy Dating and Domi- 
nating c/o ©Lar / 2938 262 St. / Dead- 
witt, Iowa 52742 

MORE THAN 3000 2. Hd. - titles and 
500 new distro titles dl' Punk / Hard- 
core/ Powerpop from the whole wide 
world you'll find in the new Sounds 
of Subterrania catalogue. Tons of 
70's-Punk-rarities, also as long de- 
leted Punk/HC releases from the 80's 
and early 90's for fair prices. Check 
out our list! Please send $2 (overseas) 
or $1 (Europe) or some IRC's for post- 
age costs. Thanks! S.O.S. c/o Stefan 
Barke / Westring 61 / :!4 127 Kassel / 
Germany. Tel / Fax: ++49 561 8900 

for sale: CD comp. "Welcome To Camp 
Mohawk" $8 ppd. Has Fun Size, The 
Picts, Ben Grim, Supaflies, and more. 
Also, The Picts, "F.O.P." 7" $4.00. 5 
sociopolitical punk rock songs. Get the 
CD and 7" for $11 ppd. Send cash or 
money orders mad out to Adam. To 
Super Pezhead Records, PO Box 588, 
Friendswood, TX 77549-0588 

BUTTON BOY! Awesome 1" buttons 
at low prices: 100/S23, 250/S50. 500/ 

paper color. Send SASE for free sam- 
ples and ordering information. Button 
Boy POB 172. Lawrence, KS 66044;; 

CRIME, CRIME, CRIME, I'm looking 
for any old Crime stuff. Posters, fly-l 
ers, buttons, please call or write #206-1 
748-0874 Rob Frishkoff 502 Minor Av| 
N #6 Seattle WA 98109 

etc.) Trade/sale. Thousands of shows/ 
promos/tv clips. Stuff like Jockney Re- 
jects, Propagandhi, Business, Screech- 
ing Weasel, Exploited, Poison Idea, 
DK's, Blitz, Queers, Conflict, GG, 
Dickies, Descendants, Operation Ivy, 
Disorder, Ruts, Misfits, Subhumans, 
Snuff, Gin Goblins. SAE (UK) 2 IRC's 

Louis Pergaud/ 25031 BESANCON ce- 50a Great King St, Edinburgh, Scot- 
dex/ France. He will appreciate. land. E-mail: gingoblin® 

fangaroo records , middenweg 13 . 
1098 aa Amsterdam, holland 
\ tyson 

S *- ^ ■ N • 


Tcv-l I I 


!!!/OU7HUD remixes/|2"ep 
VUE"deathof a^frl'-cdS 




stir otsnucr • nt metis • milkmah • jo stuns ovtt tokto 


m»s • THt oHOisrurtP hca rtmtiiHT chahpiohs ■ itooor sons ■ 

THt COUUIfS ■ SMTCtniTS ■ WW* • THt UUITtHS • A.t.O. ■ AlltH 


l$tf% "■■*■ to You" CD EP $8 PPD 

VS^ySrS^f ™li nllm ar ? hack!!! Thjs release featurcs an a » ■" version 
VSFJSk Zfl * 3 7l™ orded ' I"""*'! unreleased tracks! These songs rock in the 

S wo ftiSi a punk rock H ' m Look for raope new ■* m m 

ALSO AVAILABLE: THE REAL KIDS "Down to You" 7" single!!! Featuring cover art by Gary Grimshaw' 

"Talkiif Trash" LP/CD $8/$10 PPD 

Oh yeah, Baby!!! Here comes the full-length debut from these San Francisco Rockers!!! This is 
raw n sleazy rock n roll in spirit of the NEW YORK DOLLS and the HOLLYWOOD BRATS. This band 
rocks like all those pretty boy Glam-punk wannabe posers wish they could. Featuring former 
members of the RIP OFFS and the INFECTIONS! 
ALSO AVAILABLE: LOOSE LIPS "Two Time Loser" 7" EP Their debut release featuring 3 non-lp tracks! 



4104 24TH ST. #103 SAN FRANCISCO, CA 94114 

Screeching Weasel 

Jesus Hates You 7" Picture Disc 

Features three new cover songs. $4ppd 

Probe #8 


Probe#7 is still 
[available. All 
other issues are 
E 3 ffg 3teffi tAJ Ki < sold out. 
Death to False 
Metal Vol. 2 

1 9 more punk bands cov- 
ering metal classics from 
the '80's. Bands Include 

The Loudmouths, 

Migraines. The Bulemics. 

The Buckweeds, Mars 

Moles. Relna Aveja. 

Poison Iwy. Animus Pyle. 

Quadtllacha, Rlngwurm. 

Hyper Chvett (Schlong members), Tres Kids. 50 

Million. The New Wave Hookers and more. $8 ppd 

"If you don't already have (Death lo False Metal Vol. 
II then you aren't very smart In other words, you 
should buy Ml the Probe Record releases because 
Aaron has not put out a dud yet." 

■ Carl Elvers QU1CKDUMMIES *12 

All Probe releases are available through 
Subterranean. Choke. Surefire, Scratch, 
Lumber)ack, Vital Music, No Idea, and 
Flight 13 in Europe. 


Yeah, you still get a photo of Traq w hen you 
buy something. In fact, we just finished shoot- 
ing an entire two hour video so send S2S for 
that. Hey, that's cheap! Ass is expensive! Not to 
mention that selling Tracy's ass may be the 
only thing that keeps The Probe from going 
under. Praise be to Tracy's ass! 

Checks payable to Aaron Muentz 

' PRiBE , 


► PO. Box 5068 
PleaHanton, CA 94566 


$12 post paid 

: >ji'il!£:&:rjt>: !■--,■ :;* L \y 


k B c 

























TAANG 706 HBoCL'faiDiiftattlff !Mfl!iiiJH|iHBIIi!rinta|wi 

TH€ CflTH€T€flS 



12.50 V/A Where Birdmen Flew VoL 3 Lesser 
known bul still great oz killers! w/X,Kepies,Last 
Words etc. Still some copies of vols. 1 & 2 left 

12.00 V/A Teenage Treats Vol 6 more cool punky 
& powerpop w/Shadowfax,Flying Colours, Whips... 

1 2.00 V/A Teenage Treats Vol 7 as above w/The 
Newsjhe Buzz,Ainographs,Daleks,Trainspotters... 

10.50 BiZei B-Vi Lever reissue of super rarelp from 
these Swedes. '77 meets oi! #ed 500 copies 

Lots more comps & reissues available. Power Pearls, 
Back Seat Love, Bloodstains Across The World, KBD's 
Send stamps or SI for a full catalog. 


1 3.00 AVENGERS-S/T Here h is the Cd Presents Ip 

with 2 exlra tracks-Money & Cheap Tradgcdies 
1 1 .00 MIKEY W1LD-I Was Punk B4 You Were Punk 

comp of legendary Philadelphia wildman Live/Demos 
7.00 V/A Holidays In The Son vol 1 Livefest comp w/ 

Slaughter.Chron Gen,Drones,eXRaySpecs, Vibrators... 
7.00 As above VoL 2 w/Lurkers, 'Cocks w/Devoto,Sham. 

999,ATV,GBH,Splodge,Carpettes,Radio Stars- 24 in all 

4.00 UNNATURAL AXE-Brain Damage 
The Boston legends with a new killer single 
"Is Gonna Kick Your Ass" Ip de any day. 

3.00 DOUBLE NUTHINS-Got Into a Fight... 
Great second single from these Providence punkers 

'The 77 vocalist Paulo Eno is 
the new 3G All in' 


"The 77 are artistically a synbiosis between 
Dadaism, Pluxus, and Punk. Politically they 
fight for a more social state at an economic 
level and a more liberal level ^L 

concerning the rights of men.' 


M m 

Postage Per order:4th class SI. 50 or 1st class S3. 50 


P.O. BOX 5075 

iMILFORD, CT 06460-1475 USA 

x (203) 937-4585 



the kids are all fucXed" ep 
hot early-who/creation-style 
punX w/ Thunders/Ginn guitar. 93 

OUT HUD/ ! ! ! split 12 

funky, edgy, arty $8 

Giving Up the Ghost 7" 

high-energy, Yahmos/Pope ^-j 

Smasher-inspired punk 83 ^-v 

Oliver Brown Trio 

"Eats 5 Hot Dogs" CD ^ 

all of the ukelelist's stuff 
on one CD $10 

DEC 99 ^ p 




speaks 7" 

20 minutes of laugh-inducing 

story-telling. Punk anthro. $3 

Still in stock: 

Karate Party ep $3 »-j 

Sewer Trout cd $7 LA 

Los Huevos LP $5 

Sacto: City of a Beer 7 

all prices postpaid, outside of 

US add $1 per item. Payment in 

money order & cash only to Scott 8. 

Moo-La-La Records 

1114 21st Street 

Sacramento, CA 95814 

CO o lp ^ 

www. si . net/~ttbooks/moolala 


Yeah, you— draggin' that ( y, 

\ Fender Strat with the blanket wrapped around it...rm talkin' to YOU! -J 

'a So, you finally got the band together and you're glggin'. You've scrawled out enough j? 

* tunes so you only have to play them twice to get through the night— even your dog * 
\ likes 'em. You're ready to cut the tape, press the vinyl or burn the CD. Your cousin's 
J stepsister's husband's girlfriend (/won't tell) draws some pretty freaky stuff and you 

I need to get it printed. Who ya gonna call? 8eeflejuice, Printmaster of the Underworld! 4 

? V 

jj CP covers, inserts £ tray cards • T covers £ inserts SI 

Zines • Catalogs • Cassette J-cards & 

\ * 

So send us your artwork, disks or films, and we'll print it right— & 

j. . jr. l*_t_ *■». . -m j. .iti.. »_ _*_ _ #v_. 1 ___■__« Bi 

got, and for a nominal fee, we'll make it look good (sorta). \ 
So call us right now— and I'll stop calling your sister... \ 

honest... really— I swear... % 

PrintNet ? 


.921 Walsh Rd., Suite 209, Madison. VV1 53714 t 

Beetlejuice )™« <T 2 f' 1 ™ :L2Z J , ! i08) ; 42 ; 1,ilfi 5 








CINEMA BEER-IE hrmvideo 



FUNERAL ORATION discography h.«o-«« 


SIT MtM TNt BANDS !«»« US TftUA. 1 9 A3 -P»(Itt<> . OUT ii/23/99 

MAILORDER PRICES: VIDE0-S1Z MC0-S8 HCD-SI2 DV&-S20 ui turn nam mt nm us. ui iw mwk on« is. 



P.O. BOX 460760 
SAN FRANCISCO. CA 94146 0760 





PERMIT No. 728 

Take a deep breath, 'cause the Amoeba Collective and Maximum Roclcnroll are doing yet another: 

Deadline: February 1 , 2000 - Due Out: April 1 5/ 2000 

You asked for it, you got it! The Amoeba Collective and MRR are joining forces again to put out 
the 8th edition of BOOK YOUR OWN FUCKING LIFE. This is a worldwide resource magazine 
listing: Bands, Zines, Promoters, Distributors, Labels, Radio and TV shows, cool places to eat and 
hang out, and lots of other DIY-related resources. 

The resources are compiled geographically, trying to give as complete a listing of DIY and related 
activities as possible. The throroughness of this project will depend on the responses we gel from 
people involved with different projects. Listings in the magazine will be free; all you have to do is get 
on the web or send a note with the information requested below. Please, if you're sending in listings 
of many types, break them down dy the categories listed below so the typists won't go crazy trying to 
sift through a mountain of information, and possibly miss categorize something. Also, please keep the 
listings short and concise!! If at all possible, please use the BYOFL web page to submit your listing 
(remember, lots of libraries and computer stores have net access). 

This year is unique in that we already have a perpetually updated database of listings due to the 
BYOFL website. In an effort not to include too many abandoned listings in the print guide (we 
can't tell any better than you which listings are dead), ALL LISTINGS IN THE DATABASE DATED 
PREVIOUS TO MARCH 1 , 1 999 WILL NOT BE INCLUDED! If you have access to the web, please 

the instructions on the BYOFL site to insure your listing is accurate and will be printed in #8. If you don't have access to the web, 

submit your listing as you always have, by postal mail. 


BANDS: Name/Address/Telephone No. /Email Address/Web URL/Brief (40 words or less) description 

DISTRIBUTORS: Name/Address/Telephone No. /Web URL/Specialty and terms (vinyl, CDs, zines, consignment only, etc)/Area 

of coverage (mailorder, shows, stores, etc) 

LABELS: Name/ Address/Telephone No. /Email Address/Web URL/Description (40 words or less!) 

PROMOTERS/VENUES Name/(Mailing)Address/Telephone No/Email Address/Web URL/Capacity/Lodging or food pro- 

vided?/Working terms (guarantee, percentage, etc) 

RADIO STATIONS Station Name/Band Frenquency/Addtess/Telephone No./Email Address/Web URL/Contaci Person/Punk-HC 

shows and times 

STORES: Name/ Address/Telephone No /Email Address/Web URL/Specialties and hours 

ZINES: Name/Address/Telephone No./Email Address/Web URL/Post Paid Price/Frequency/Size/Description (40 words or less) 

MISC: We also ask people to send in lips on hangouts, cheap places to eat, free clinics, bulletin boards, crash pads, etc. These 

listings could be especially helpful for touring bands. 


Display ads will be sold to help pay for this protect (only for the print version) To make this resource as fair as possible, mere will be 
only one ad size. We are doing this to make ads just as accessible to the small, 20 page fanzine as to the big record labels. The ad 
size available is 3 3/4" across by 2" down, or 95mm x 51 mm (basically a slightly elongated business card size). These ods cost $25, 
which helps keep the cover price low. Please, only one ad per label/zine/promoter, etc. 


Mail Listings 

The Amoeba Collective 

438 Donohoe St. #3 

E.Palo Alto, CA 94303-1 805 


Web Submission 
(preferred method) 

Send Ads to: 

Maximum Rocknroll 

PO Box 460760 

San Francisco, CA 94146-0760 


1) Use the web for submissions if at all possible! This will decrease chance of inaccuracies or of your listing getting lost in the 

2) If you submitted a listing lost year ond have access to the wweb, check your listing for accuracy and that's it's datea later than March 1 , 1 99° 

3) Be brief! We're not editors. If you send the listing by mail, make sure they're typed or nearly printed 

4) Submit early. Like right NOW! Pu! down this mag, go to your computer, go to the BYOFL website.. .or pick up a postcord, slap o stamp on it .. 

5) Don't use all uppercase or lowercase letters It makes it really hard to figure out what is part of a name and what is just a descriptive 
word (and if you submit through the website, we'll hove to retype and won't be happy about having to do so) Puncuation is good. 

6 We don't need the address and phone number of everyone in your band. Pick one person for a contact! 

7 Don't send in 1 8 listings for all the semi-existent bands you're in or the zines you're thinking of starting-just the ones are active. 

8 Maybe take responsibility for getting your whole scene/city's listing sent in, but... 

9 CHECK with people before submitting info for them! Hassle your friends to get their listings in this only works if people send stuff inl 
10) Please don t send your listings by certified or registered mail. 

*— J